Armstead, Henry Hugh, 1828-1905
He was introduced to Scott by Clayton in 1862, who was a fellow student at the Royal Academy. Scott had also seen his work at the 1862 Great Exhibition. By 1863, Scott had nominated him to make the sculpture on the model of the Albert Memorial and also carry out sculpture on the top storey of the Government Offices, in conjunction with three others. Between 1863-73, he worked on the Albert Memorial and was also a member of the Spring Garden Sketching Club until its dissolution in 1890. His work included carving at Lichfield Cathedral, the Colonial Office and a statue of Lord John Tynne at Westminster Abbey.
Burlinson, John, junior 1843-91 and Grylls, Thomas, John, 1845-1913
Burlinson’s son, John, was employed in the business side of the stained glass firm of Clayton and Bell, and in 1868 set up the firm of Burlison & Grylls in partnership with Thomas John Grylls, fellow pupil at Clayton and Bell. They worked on buildings in Hillesden, Plymouth, Tewkesbury and Broughton, Oxfordshire, for Scott.
Clayton and Bell
See also Bell, Alfred, and Clayton, J. R.
They formed a partnership in around 1855 and carried out much decorative work for Scott, including 1867 the Foreign Office, 1872 Bangor Cathedral, 1870 Middle Claydon Church, 1873-6 Exeter Cathedral, plus stained glass in 1864 at Pershore Abbey plus other windows there in 1869-73, and in 1871-7 the glass for Rochester Cathedral. They had a purpose built Ruskinian Gothic factory designed by Arthur Blomfield in King Street, Covent Garden. Their only known quarrel was about whose name should be second in the partnership as each believed his friend's should be first.
Cundy, Samuel, 1816-67
Son of James Cundy, sculptor, he was ‘the abbey mason’ in 1849 when Scott was appointed to restore Westminster Abbey. He was also employed by Scott as a foreman at St Albans Abbey.
Farmer and Brindley, 1850-1937
The firm was established in 1850 by William Joseph Brindley and William Farmer, based at 67, Westminster Bridge Road. They were one of Scott’s favourite carvers and their work for him included: 1864-9, stone carving for St John’s Chapel, Cambridge; 1875, reredos for Bridlington Priory; 1872, choir stalls for Bangor Cathedral; 1878-9, choir stalls for Canterbury Cathedral; woodwork for Worcester Cathedral; 1870, choir stalls Gloucester Cathedral as well as the reredos 1873 and font 1878, also there; 1861-3, pulpit, St Nicholas, Hamburg; 1869-70, carving at Highclere Church; 1869-70, screen and organ screen, Chester Cathedral; 1874, paving at Durham Cathedral; 1873-6 work at Exeter Cathedral; 1879, pulpit, St John’s, Halifax; 1864-8, carving on the Albert Memorial; 1876-80, reredos, All Souls, Leeds, as the Hooke memorial; 1859-61, stone carving Kelham Hall. Brindley also made a model of the Albert Memorial in 1863 as well as carrying out carving at Wellington College Chapel and Preston Town Hall. He was elected a member of the Spring Gardens Sketching Club from 1873-90.
Gérente, Henri Thomas Francois, senior, 1814-49
Undoubtedly the most distinguished craftsman that Scott used at Ely was Henri Gérente of Paris, who between 1848 and 1849 filled four large Norman windows on the south side of the south transept with excellent stained glass based on thirteenth-century models. Sadly his contact with Scott was all too brief. He had set up his own workshop in 1846 having become a glass painter for the last eight years of his life. He escaped from Paris after facing a firing squad during the 1848 revolution, worked on the Ely windows, and when he heard that his father was dying of cholera, returned to Paris in 1849. He then, according to Scott, hurried back to England, convinced that if he stayed in Paris, he too would die of cholera. However, he did return to Paris again, immediately caught the disease and died. He was succeeded by his younger brother, Alfred Gérente (1821-68), who, Scott says, had been ‘educated as a sculptor - who - has fallen with considerable success his elder brothers grove [sic]’. Alfred continued the work at Ely, with three windows in the south aisle of the nave, two of which he displayed at the Great Exhibition of 1851 and were awarded a Prize Medal. He also carried out other work on Scott's buildings, particularly the west window of St Mary’s, Stafford, in 1855.
Hardman, John, 1811-67
A close friend of Pugin’s, he established his firm in Birmingham in 1838, ably realising Pugin’s designs in brass and iron. For Scott he decorated the choir aisle vaulting of Worcester Cathedral in 1870-1, as well as other work in the same building. He also worked in Gloucester Cathedral, Westminster Abbey and Oakover Church, Derbyshire, for Scott.
Hems, Harry, 1842-1916
Described as an ‘extrovert’, he was based in Exeter from 1865, employing 70 men there and staff in London, Oxford and Ireland. For Scott, he worked on the font at St Andrew’s, Plymouth, in 1873-5, Barnstaple Church and Stowford Church. He also carved the oak lectern for St John’s Church, Newfoundland.
Philip, John Birnie, 1824-75
Philip is famous as a prolific and popular sculptor whose best work was carried out to Scott's designs. He studied at the Government School of Design at Somerset House, London, and worked on the Palace of Westminster. He carried out carving for Scott, for example, on the India Office; St George’s, Doncaster; All Souls, Haley Hill; and Lichfield Cathedral as well as Ely, Sudeley and St George’s Chapel, Windsor. He was also nominated by Scott in 1863 to work on the podium of the Albert Memorial. In 1866 he was elected an honorary member of the Spring Gardens Sketching Club.
Rattee, James, 1820-55
Rattee was a Cambridge wood-carver who, in 1842, founded the building firm of Rattee and Kett, which after Rattee's early death, carried on producing high quality carving for several of Scott's buildings. These included the reredos at Ely as well as other work in the same cathedral; St John’s Chapel, Cambridge; and All Souls, Haley Hill.
Redfern, James Frank, 1838-76
A sculptor, born in humble circumstances in Dove Dale on Beresford Hope’s estate. Hope brought him to London and placed him with Clayton. He also studied in Paris. He was nominated by Scott to work on the Albert Memorial, modelling the figures on the fleche and also executed 60 figures on the west front of Salisbury Cathedral for which Scott remarked ‘I fear too low a price’. He subsequently died in poverty.
Skidmore, Francis Alfred, 1816-96
Skidmore was originally a designer and maker of church plate in partnership with his father, and Scott probably first employed him to provide metal-work for his restoration of Holy Trinity, Coventry, between 1855-6. The quality of his craftsmanship so impressed Scott that he rapidly became Scott's favourite metal-worker and he used him on most of his important commissions. Scott wrote in the Remarks that Skidmore was ‘so well known for his skill in iron and brass-work, as well as in the use of precious metals’ and that he ‘can claim an eminent place both in skill, progress and eccentricity’. His work for Scott included the Albert Memorial, Worcester, Hereford, Lichfield, Salisbury, Exeter and Chester Cathedrals. In 1866 he was elected an honorary member of the Spring Gardens Sketching Club.