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St Peter's - Ampney St Peter

Scott restored and extended this church at the end of his life in 1878 and included a new north aisle, new north-west porch and north-east vestry. He reused the old Norman lancet windows, for example, in the new north aisle.

St Mary's - Berkeley

Scott undertook a restoration here between 1865-6 which included work on the roof, re-pewing and work on the wall paintings, using Clayton and Bell. Scott also probably designed a large thirteenth century style window in the chancel. The total cost of the work was £5000, paid mainly by Lord Fitzhardinge. Many layers of whitewash and plaster were removed from the walls. James Cooke, writing soon after 1871 says: ‘They are exact reproductions of the original decorations of the 13th century, remains of which were found in all parts of the church when the repeated coats of whitewash and plaster were removed during the restoration in 1865. It is the opinion of competent judges that they form part of the original design of the building, many parts of which appear to have been left purposely bare of architectural ornament, in order that the want might be supplied in this manner. For this purpose they are most effective; the long straight lines of pattern fill up what would otherwise be blank spaces of wall, and enhance the perspective effect, while the richness and warmth of the colouring are most grateful to the eye after the cold whitewash to which the present generation has so long been accustomed…’


St Mary's - Bibury

This Saxon church was restored by Scott in 1863, with new fittings including a pulpit.

St Mary's Church lectern - Bibury

In 1874, he designed a new brass lectern executed by Skidmore for this church. Many of Scott’s fittings have now been removed.

Workhouse - Chipping Sodbury

This was built to a Scott and Moffatt plan between 1838-9 in stone in a plain Elizabethan style to house 160 inmates. It has a three storied central block with two storey wings and the building contract was for £2090. Mr Bonython was clerk of works and Mr James Chappell of Bath the contractor. It was in use by 1840. It is now a community centre.

St John the Baptist's - Cirencester

This church was restored by Scott between 1865-7 under the direction of the vicar, Canon William Frederick Powell. This included replacing the floors, removing the galleries and the stairs in the Trinity Chapel, installing a heating system, removing graves from the nave and reinforcing pillars. He also ‘touched up’ the wall paintings, with fleur- de-lys stencilling in the chancel and restored the east end of the Trinity Chapel for Lady Georgina Bathurst in memory of her family. New pews were made for the nave using an old example as a pattern, as well as a new carved stone reredos, canopy above the chancel screen and altar rails. The organ was sited at the east end of the north aisle in a case designed by Scott though it has since been moved into the choir.

Holy Trinity, Watermoor - Cirencester

Built by Scott between 1847-52 for the Rev. W. P. Alworth in Early English style, the building contract was for £200 although the total cost was in the region of £4000 using a local builder, Mr Bridges. It has a fine open timber roof, dormers instead of a clerestory, carved corbels and caps. In 1852 a north-west spire was added at the ‘sole expense’ of the Hon. William Lennox Bathurst. Scott’s fittings in the interior included the font, pulpit and stalls.


Holy Trinity additions - Cirencester

Scott carried out further work at this church in 1878 when he enlarged the windows and, in 1881, a stone reredos was made to his design.

St Mary's - Flaxley

This is a very ornate church in Early Decorated style with much carving, rebuilt on the site of another church between 1851-6 in red gritstone with grey Forrest stone dressings. It was paid for by William Gibb of Tyntesfield, and built by Mr James Coleman of Chaxhill, Westbury on Severn. It has a north-west spire, north aisle and southern timber porch. A new font and pulpit were provided of Painswick stone with dark red marble columns, the alabaster reredos was carved by J. B. Philip and the east window made by Jarente, both of which were shown at the Paris Exhibition. Scott designed all the other fittings including the wooden lectern.

Fisher, G., Stamp, G. and Heseltine, J., (eds), The Scott Family, Catalogue of the Drawings Collection of the Royal Institute of British Architects (Avebury Publishing, Amersham, 1981), 79 [b]. Girouard, M., The Victorian Country House (Yale University Press, New Haven and London, 1979), p. 244.

Gloucester Cathedral - Gloucester

Scott restored all of the Three Choirs cathedrals but his work at Gloucester was the last and least assertive of the three. In many respects, his involvement there was similar to that at Worcester in that a competent local architect was working on the building when he was first consulted. Thomas Fulljames was the son of a local surveyor and in 1831, he had advised the Chapter of Gloucester on alterations to the little cloister of the Cathedral . He had an independent architectural practice and his restoration of Swindon Church near Cheltenham, in about 1845, was criticised by The Gentleman’s Magazine for having destroyed a vast amount of original Norman work to fit in more seating. In 1839 Fulljames took on Frederick Sandham Waller as a pupil, and within eight years they became partners. But, perhaps sensitive of the criticism of his restoration work, he allowed Waller to take an increasingly active role in the care of Gloucester Cathedral. In 1847 they were jointly advising the Chapter and in 1852 Waller was appointed Supervisor of the Works. In 1856 he published General Architectural Description of the Cathedral Church …at Gloucester etc. for the Chapter, who then decided to ask the opinion of ‘Sir Charles Barry or some other eminent architect’ on Waller’s report. In the end it was sent to Scott, who seems to have been impressed with it and describes Waller as a ‘man of considerable talent’.

Waller proposed an extensive restoration of the whole cathedral, costing £66,235, and in January 1863 the wealthy Henry Law became Dean. He had never married and devoted an inherited fortune to numerous religious charities and works, eventually becoming the largest contributor to the restoration of his Cathedral. However, in the month before Law moved to Gloucester, Waller had a hunting accident which left him so severely injured that he had to pass all his work back to Fulljames. Fulljames was thus once again the cathedral architect and Scott having already acted in an advisory role, became associated with Fulljames. Perhaps the Chapter, under the new Dean, felt that Fulljames’ drastic approach to restoration needed some restraint and Scott’s authority could be exercised to provide necessary control. In the event, Fulljames made a large financial contribution to the restoration fund and retired at the end of 1865. With Waller still not recovered, Scott was appointed cathedral architect.

Law, as one of the leaders of the by now declining evangelical movement, would have had no qualms about Scott’s religious views. Even The Ecclesiologist, in March 1866, thought that the ‘rougher part of the restoration’ had been ‘well done, in the foundations, walls and windows’, by Fulljames but ‘Mr. Scott’s work will be to revive its spirit as a church’.

Work on the restoration of the stonework of the nave was finished by Christmas Day 1868 when the first service was held there but the south porch was not fully completed until 1870. Waller had helped Scott with drawings he had made of the porch ‘before the decay had been so complete’ and six figures by Redfern were placed in restored niches over the doorway. Scott says that Law objected to the proposal in Waller’s report to open up the choir to the nave and it was, perhaps because of this, that Scott was requested to make a report on the choir which he produced in April 1867. He said that he was ‘not very anxious on the subject’ of opening up the choir as he wanted to keep ‘the historical arrangement of the choir and its stalls’. He proposed that the eighteenth century choir seating should be replaced ‘with new fittings agreeable in character with the stalls’ and, of course, the plain screen behind the High Altar, designed by Sir Robert Smirke in 1807, would have to go and be replaced with a proper reredos. The ‘ancient and beautiful sedilia’, which stand to the south of the High altar, should be restored as closely as possible to their original form. The tile pavement in the sanctuary was, he says, as fine a medieval pavement as he had seen and should be preserved while the floor of the choir and presbytery should be repaved. For the great vault over the choir with its intricate web of ribs he proposed that ‘a moderate amount of colour in the ceiling would do more than almost anything to add that warmth of effect which the choir so much needs’. He also proposed that the Lady Chapel should be restored and as he had never seen windows ‘more beautifully or more expertly restored than those recently done by Hardman in the nave’, he urged that Hardman should be re-commissioned to re-glaze the windows of the Lady Chapel.

The Chapter accepted Scott’s recommendations and an appeal for funds was launched. As soon as the nave was completed at the end of 1868, work immediately started on the choir. Scott was again able to persuade the cathedral authorities to employ his favourite craftsmen and specialist suppliers, and although various firms tendered for the work of painting and gilding the vault it was, of course, Clayton and Bell’s quotation of £557 which was accepted in March 1871. Although no traces of medieval painting were found this did not deter Scott from proceeding with a scheme which critics felt lowered the apparent height of the building. Gambier Parry condemned it completely but Scott maintained that it was a success. For the paving Scott used William Godwin of Lugwardine, whom he had first used at Hereford, to make copies of the old tiles in the cathedral. The whole of the choir and presbytery was floored with an elaborate tile and marble pattern, with the exception of the sanctuary, where Scott repaired and restored the fine medieval design. In the centre of the presbytery floor there is an impressive series of biblical scenes in black cement set into white marble squares. It is said that these are to Scott’s own design. They certainly have a similar vigour and quality to his identified personal work at Worcester.

The repairs and alterations to the choir stalls were the work of Farmer and Brindley and were carried out around 1873 at a cost of £2,775. For this sum they provided a new bishop’s throne and mayor’s seat, replaced the front seats to the choir and repaired the fine set of stalls which date from about 1370. These, like Worcester, contain an excellent set of forty-four medieval misericords and only fourteen from Scott’s restoration. In March 1871, Scott’s design for the new reredos was accepted and Redfern, having just completed the statues on the south porch, was given the task of carving the figures. It turned out to be one of Scott’s finest reredoses with a lightness of touch which must have been inspired by the nearby canopy of King Edward II’s tomb of 1330 in the north ambulatory. It has a rich intricacy of detail which is lacking in Scott’s Salisbury and Worcester designs. The fine architectural stone carving was also the work of Farmer and Brindley and the whole structure, which cost £1,400, was donated by the Freemasons of Gloucestershire and unveiled at a grand Masonic ceremony on 5 June 1873. It was later made even more spectacular by the application of gilding and multi-coloured paintwork.

In 1872, Waller ‘having happily been restored to health’, was, according to Scott, ‘re-instated in his position of resident Architect I retaining that of Consulting architect’. In 1873, with the choir nearly complete and presumably no further funds available to extend the restoration to the Lady Chapel, Scott seems to have withdrawn from Gloucester Cathedral. It was only with Gambier Parry that Scott had problems. Ever since he bought the Highnam estate in 1839, just to the west of Gloucester, Gambier Parry was considered to be a person of importance and influential in the affairs of the city. But he was furious when Scott rejected his scheme to decorate the choir vault of the cathedral in spite of having already carried out a successful decoration of the tiny St. Andrew’s Chapel off the south transept.

Scott’s last work at Gloucester was a font donated by Mrs Gibbs as a memorial to her husband, William Gibbs of Tyntesfield near Bristol. Gibbs, who had commissioned Scott to design Flaxley Church next to Mrs Gibb’s home twenty years earlier, died in April 1875. In the event, Scott’s design for the Gloucester font is not like anything at Flaxley but, presumably, because it was to be placed at the west end of the Norman nave, it is an extraordinary Romanesque affair. It was richly carved from Inverness granite by Farmer and Brindley and cost £800. It was dedicated by the bishop on Easter Sunday 1878 three weeks after Scott’s death. In recent years it has been relegated to the crypt.

After Scott’s death, Waller carried on repairing the stonework and with general maintenance until his retirement in 1900. Although Scott’s involvement with Gloucester lasted over a long period, his principal task, the restoration of the choir, was carried out in four years. It was one of his smaller cathedral restorations compared to the ten years taken on Worcester, or a lifetime on Ely, and like Worcester, all the structural work was undertaken by another architect.

Welander, D., The History, Art and Architecture of Gloucester Cathedral (Alan Sutton, Stroud, 1991), pp. 431-3, 446, 454-8, 466, 468-71, 473-7, 479-80, 486.
Pevsner, N., Verey, D., and Brooks, A., Gloucestershire I: The Cotswolds in the Buildings of England (Penguin Books, London, 1999), pp. 36, 206, 209-10, 354.
Scott’s Recollections III, 321-5, IV 155, 160, 163.
Dictionary of National Biography, XXXII, p. 228.
The Ecclesiologist, XVII (1866), p. 99.
Gloucester Journal, 26 August 1871, p. 339.
Farr, D., Thomas Gambier Parry (1816-1888) as Artist and Collector (Courtauld Institute of Art, London, 1993), p. 57.
Directory of British Architects 1834-1914 (Continuim, London, 2001), vol. II, p. 902.

Gloucester Cathedral font - Gloucester

Scott’s last work at Gloucester was a font donated by Mrs Gibbs as a memorial to her husband, William Gibbs of Tyntesfield near Bristol. Gibbs, who had commissioned Scott to design Flaxley Church next to Mrs Gibb’s home twenty years earlier, died in April 1875. In the event, Scott’s design for the Gloucester font is not like anything at Flaxley but, presumably, because it was to be placed at the west end of the Norman nave, it is an extraordinary Romanesque affair. It was richly carved from Inverness granite by Farmer and Brindley and cost £800. It was dedicated by the bishop on Easter Sunday 1878 three weeks after Scott’s death. In recent years it has been relegated to the crypt.

All Saints, Barton Street - Gloucester

Scott returned to the city in the following year in 1874 when he was commissioned to design All Saints Church which was consecrated in November 1875. The cost was met by subscriptions and a benefaction from the family of Thomas Hedley, first perpetual curate of St. James. It is a modest stone church in Decorated style, built close to a railway track and about ten minutes walk from the cathedral. It has been described by Pevsner as the ‘finest C19 church in Gloucestershire’. The work probably came through Scott’s connections with the cathedral clergy, with whom Scott seems to have had a good relationship. It is now a cultural centre.

Victoria County History, Gloucestershire, IV, p. 312.
Pevsner, N., Verey, D., and Brooks, A., Gloucestershire I: The Cotswolds in the Buildings of England (Penguin Books, London, 1999), p. 229.

Workhouse - Gloucester

In 1837, Scott won a competition, against two other architects, Field and Thorold, for Gloucester Workhouse, and when he was interviewed he gave the Guardians a choice of elevations. They chose ‘the plain modern style’ and not ‘the Gothic style’, that is a Classical style Scott and Moffatt plan at a cost of £4000. It had an arched entrance range and central octagon. It was demolished in 1961.

Kathryn A Morrison, ‘The New-Poor-Law Workhouses of George Gilbert Scott and William Bonython Moffat’, Architectural History, 40, 1997, pp. 184-203.

St Laurence's Church reredos - Stroud

In 1872, Scott designed a reredos for this church depicting scenes from the Passion which was carved by Morris Geflowski, the central panels of high relief by Edward Geflowski.

Sudeley Castle and St Mary's Chapel - Sudeley

John Drayton Wyatt (1820-91), was a native of Gloucestershire and joined Scott and Moffat in 1841, becoming Scott’s chief perspectivist. In 1854 Scott started to restore Sudeley Castle for John Croucher Dent working on the western side of the inner court in the style of the existing Medieval and Elizabethan buildings. In 1858 he began restoring its free-standing chapel with Wyatt’s assistance. This included a new marble tomb for Queen Katherine Parr, with a fine effigy by Philip in 1859, and major work on the interior which had fallen into decay during the eighteenth century, completed by 1863. In 1865 Scott and Wyatt designed a terrace of almshouses at nearby Winchcombe, and two years later they built the school there. About this time Wyatt set up in practice on his own but still carried on working for the Dents on Sudeley and other buildings in the area. He continued to produce superb perspectives for Scott, as well as other architects, which were regularly exhibited at the Royal Academy.

Directory of British Architects 1834-1914, 2 volumes (Continium, London, 2001), vol. II, p. 1075.
Pevsner, N., Verey, D., and Brooks, A., Gloucestershire I: The Cotswolds in the Buildings of England (Penguin Books, London, 1999), pp. 678, 731, 734, 674.

Almshouses, Dent's Terrace - Winchcombe

In 1865 Scott and Wyatt designed a picturesque terrace of almshouses in multi-coloured stones and with gabled porches for John Dent of nearby Sudeley Castle.

School - Winchcombe

Two years later, between 1867-8, Scott and Wyatt built a similar school to the almshouses, using the same style and materials, again for the Dents. About this time Wyatt set up in practice on his own but still carried on working for the Dents on Sudeley and other buildings in the area. He continued to produce superb perspectives for Scott, as well as other architects, which were regularly exhibited at the Royal Academy.

Pevsner, N., Verey, D., and Brooks, A., Gloucestershire I: The Cotswolds in the Buildings of England (Penguin Books, London, 1999), pp. 678, 731, 734, 674.

Tewkesbury Abbey - Tewkesbury

The townspeople of Tewkesbury did not want their fine old Abbey Church left behind their neighbouring Three Choirs cathedrals in the race for funds to make it appropriate for the Victorian form of worship. Although it does not have the status of a cathedral, it is the same size as Hereford, larger than St David’s and Ripon, and architecturally, just as interesting. A meeting at Tewkesbury Town Hall was held in May 1864, called by a local solicitor and newspaper proprietor, Frederick Moore. One of those present was Sir Edmund Lechmere, whose bank, the Worcester Old Bank, had a branch in Tewkesbury and it was presumably through Lechmere that the meeting decided that Scott should be commissioned to produce a report.

When Scott inspected the Abbey he found that it contained a huge corporation pew, galleries and the pulpit stood against the north-east tower pier surrounded by box pews. He presented a report in August 1864 to another meeting of the principal inhabitants of Tewkesbury, when he stated that the exterior was ‘in a much better state of repair than you generally find a similar church to be’ and required little to be done to it. He had been called in, not for the structural problems which usually beset his cathedral restorations but purely to refit and reorganise the interior. He ‘would make a clean sweep of the internal fittings, which were as unecclesiastical and as bad as they could be’. He proposed to completely alter the choir by removing the organ and screen, which stood in the middle of the nave blocking the view of the east end, and to provide a new low screen in its place. The meeting set up a restoration committee with Lechmere as chairman and Moore as secretary.

An appeal for funds was launched and Scott was asked to produce an estimate. Presumably as Scott’s rather sanguine report had suggested that there was no urgency, it was agreed that the work should not be put in hand until enough funds had been accumulated to see the work through. This seems a particularly strange decision, as Scott had not yet stated the amount of money that was required for the work, and the early enthusiasm generated by the initial meetings could evaporate long before sufficient funds had been acquired to carry out the work. In the May of the following year, 1865, Scott produced another report but nothing happened. Scott was to be embroiled in the Albert Memorial for some time to come and it was another five years before he produced an estimate for the work to be done to the choir. This included removing the organ from the choir to the north transept, new seats and stalls, reflooring, repairing the stonework and the roofs, all for £4,850.

Still nothing happened until a local stone-mason, Thomas Collins, who had already worked with Scott on his sensitive restoration of Pershore Abbey between 1862-4, intervened. Collins was a native of Tewkesbury, who had had a life long love affair with the ancient Abbey, and in 1872 he offered to remove the galleries and repair the stonework at his own expense. His initiative seems to have spurred others into action and in July 1874 Lechmere presided over a meeting to approve Scott’s plans to rearrange and repave the choir, restore the tower arches and four bays of the nave and to provide new fittings in the choir. Scott does not seem to have been present, but Collins told the meeting that the work would cost £3,000, whereupon it was decided to set up an appeal committee to raise the necessary funds. This was highly successful as the contract was signed with Collins on 22 February 1875.

Scott proposed to move the old oak choir stalls to what he said was their original position, to the east of the tower, but this seems to have given rise to considerable discussion, which lasted until the summer of 1876. At this stage, the restoration consisted of cleaning the walls of the chancel and the transepts and making good the damaged stonework. The restored decorations were carried out by Burlison and Grylls. This was a firm set up in 1868 by the son of Scott’s assistant and friend, John Burlinson, also John, with his fellow pupil at Clayton and Bell’s, Thomas John Grylls. Scott must have been very relieved that these young men were carrying out the work, after Gambier Parry wrote from Ely in 1874 to say that ‘he was deeply engaged on costly work’ and unable to attend although he did send a donation of £20. However with Tewkesbury only ten miles from Highnam, it was inevitable that Parry would want to interfere with the wall painting going on there. When Scott died, Parry soon became involved and carried out some surprisingly restrained decoration to the nave vaulting.

Burlison and Grylls required an additional £4,000 for their work and as it was quite clear that extra funds would be required, it was decided to launch a national appeal by holding a meeting in the library of Lambeth Palace on 3 March 1877. Dr Ellicott, the Bishop of Gloucester, presided over an awesome assembly including Lord Beauchamp, Beresford Hope and Grimthorpe. Lechmere presented a report and Scott described the work yet to be done and probably displaying a drawing that he was to submit to the Royal Academy Summer Exhibition in the following May. This shows the whole of the interior of the abbey opened up, with only a low screen on a single step between the western piers of the tower, and a typical Scott reredos behind the High Altar. When the drawing was published in The Building News, in May 1877, the text stated that Scott had taken up the old paving but the new one had not then been laid. Here Scott produced one of the most spectacular parts of his restoration, although the work was only completed after his death. The whole of the chancel floor is covered with specially made tiles by Godwin, mostly in red and yellow in the medieval style and incorporating the coats of arms of notables connected with the Abbey, including Prince Edward who was killed at the battle of Tewkesbury and his enemy the Duke of Clarence. Scott seems to have gone to considerable lengths to ensure that the heraldry was correct. He probably consulted Stephen Isaacson Tucker, the Rouge Croix Pursuivant of Arms, who had helped him at Rochester Cathedral.

The first service after the choir was reopened was held on 10 December 1877, only three months before Scott’s death, but there was still much to be done. The choir stalls needed to be installed while the font, screens, reading desks and lectern had yet to be provided. The uniformity of style and the solidity of the structure of Tewkesbury gave Scott little opportunity for archaeological detective work but he did cut a slot into the base of the great west window to find that the original Norman arch was even deeper than the existing recess and the window correspondingly narrower.

Immediately after Scott’s death both his architect sons succeeded to the restoration but by September 1878 John Oldrid alone was in charge. He designed a Purbeck marble bowl for the old font base and a reredos which was not executed. He also designed the pulpit, but it was not until 1891 that his design for the choir screen was approved and this is a much taller structure than that shown on his father’s proposals of 1877. The official re-dedication ceremony took place on 23 September 1879, but John’s son, Charles Marriot Oldrid Scott, was still working on the Abbey in 1914, fifty years after his grandfather started the restoration.

While engaged at Tewkesbury, what Scott had considered to be a small affair and minor disagreement had grown into a huge movement against the restoration methods that he and his generation of architects had employed. This was largely due to the efforts of William Morris. On 3 March 1877, the launch of the national appeal to complete the work on Tewkesbury Abbey was held at Lambeth Palace. Two days later Morris wrote off a furious letter which was published on the 10 March in The Athenaeum. This was a somewhat radical literary and artistic journal edited by the notorious Liberal M. P., Sir Charles Wentworth Dilke, with Frederick George Stephens, who was an early member of the pre-Raphaelites as its art critic. In 1931 it became The New Statesman. This was the sort of paper that Scott avoided reading. However, Lechmere sent him a copy and when thanking Lechmere he wrote:

I have been told that I am systematically and very bitterly traduced by writers in that paper; but as I know that I do not deserve it, I never seek to see these articles, much less to answer them.

The letter that Scott saw in The Athenaeum opens with Morris saying:

My eye just now caught the word ‘restoration’ in the morning paper, and, on looking closer, I saw that this time it is nothing less than the Minister of Tewkesbury that is to be destroyed by Sir Gilbert Scott. Is it altogether too late to do something to save it, - it and whatever else of beautiful and historical is still left us on the sites of the ancient buildings we were once so famous for?

Morris then proposed that an association should be immediately set up:

to keep a watch on old monuments, to protest against all ‘restoration’ that means more than keeping out wind and weather, and, … to awaken a feeling ancient buildings are not mere ecclesiastical toys, but sacred monuments of the nation’s growth and hope.

Only ten days later, on 22 March, a meeting was held at Morris’s workshops at 26, Queen Square. There were ten present including Philip Webb and Stephens, and they decided to set up ‘The Society for the Protection of Ancient Buildings’ with Morris as its Honorary Secretary. By March 1879, its membership had grown considerably to include such luminaries as Ruskin and Carlyle, along with E. R. Robson, J. J. Stevenson, Loftie and Sidney Colvin.

What in February 1877 had seemed to Scott to be a routine reaction to his work, two months later had developed into a torrent of criticism against the form of restoration that he had been carrying out for thirty-six years. He had championed conservation in the Plea, read a paper to the Institute, drawn-up directions to builders and Clerks of Works and advocated conservative restoration in all three of his Presidential addresses at the Institute:

It is therefore rather hard to bear that I should now be made the butt of an extreme party who wish to make me out to be the ring-leader of destructiveness.

It was through the Institute that Scott largely proclaimed the correctness of his approach, so it must have been galling that it was there that he received his most hurtful attack, particularly as that attack came from one of his former pupils, J. J. Stevenson. At the end of his life, Morris’s attack on his work at Tewkesbury left a stain on his reputation which took well over a hundred years to recover.

Jones, A., Tewkesbury Abbey: Church or Ancient Monument? The Victorian Restoration Controversy (Friends of Tewkesbury Abbey, Tewkesbury, 1988), pp. 3-4, 5, plate, 6-7.
Building News, XI, 12 August 1864, p. 617.
The Builder, XXVIII, 19 March 1870, p. 232.
Wilson, M., Pershore Abbey (R. J. L. Smith, Much Wenlock, 1997), p. 10.
The Builder, XXX, 13 July 1872, p. 552.
Building News, XXIII, 16 August 1872, p. 130.
The Builder, XXXII, 13 June 1874, p. 512.
Fisher, G., Stamp, G. and Heseltine, J., (eds), The Scott Family, Catalogue of the Drawings Collection of the Royal Institute of British Architects (Avebury Publishing, Amersham, 1981), 73, 74, 88, 106, 115.
Building News, XXVII, 11 September 1874, p. 327.
Harrison, M., Victorian Stained Glass (Barrie and Jenkins, London, 1980), p. 76.
Farr, D., Thomas Gambier Parry (1816-1888) as Artist and Collector (Courtauld Institute of Art, London, 1993), pp. 24-5.
Building News, XXXII, 9 March 1877, p. 239.
Building News, XXXII, 11 May 1877, pp. 464, 472-3.
Beaulah, K., and van Lemmen, H., Church Tiles of the Nineteenth Century (Shire Publications, Princes Risborough, 2001), p. 39.
Scott’s Recollections, IV 195, 256-7.
Building News, XXXIII, 30 November 1877, p. 549.
Pevsner, N., Verey, D., and Brooks, A., Gloucestershire I: The Cotswolds in the Buildings of England (Penguin Books, London, 1999), p. 361.
Blunt, J. H., Tewkesbury Abbey and its Associations (W. North, Tewkesbury, 1898), pp. 131-2.
Miele, C. (ed.), William Morris on Architecture (Academic Press, Sheffield, 1996), p. 28.
Harvey, Sir P. (ed.), The Oxford Companion to English Literature (Clarendon Press, Oxford, 1973), p. 47.
Scott, G. G., Scott, G. (ed.), Personal and Professional Recollections (Sampson Low, Murston, Searle & Rivington, London, 1879), p. 367.
Mackail, J. W., The Life of William Morris (Longmans, Green, London, New York, Bombay, 1901), vol. I, pp. 340-2.
Parry, L. (ed.), William Morris (Philip Wilson, London, 1996), pp. 80-1.

St James's - Bristol

In 1863, Scott reported on the old church before a substantial restoration.