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Robert Weir Schultz (1860–1951)1: An Arts and Crafts Architect

Published online by Cambridge University Press:  11 April 2016

David Ottewill
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Extract

. . . I must say quite frankly that in my opinion this theoretic training is not going to make for good building. In fact to be quite candid, I am not hopeful that a good general type of modern building will be seen until all we architects are abolished, swept away, root and branch: until the crafts connected with building are reorganized on an efficient educational basis.

These uncompromising sentiments occur in a paper entitled ‘Architecture or Building’ read before the Birmingham Architectural Association on 3 December 1909. They were made by a tall, red-haired Scotsman in his fiftieth year at the height of his architectural career. It was this firm belief, founded in Pugin and promoted by Morris and Webb, that architecture must be based in reasonable building and the straight-forward use of materials and construction — art taking care of itself — which caused Robert Weir Schultz to speak so scathingly about the architecture of his time, most of which he dismissed as mere ‘architectonics’. His own buildings may lack the individuality of contemporaries such as Voysey, Mackintosh and Prior, or the serenity and urbanity of Newton and Macartney. Nevertheless it was the very suppression of a personal style in the furtherance of a common cause, sustained throughout a practice lasting almost fifty years, that made his work so diverse in range and manner, and indeed at times original. In attempting to grow out of the particular needs of each building and its site it approaches that of Philip Webb and especially of his acknowledged mentor, W. R. Lethaby, whose writings and few, but significant, buildings were the central inspiration of Schultz’s career. Lethaby’s definition of architecture had been set down in the volume edited by Norman Shaw and T. G. Jackson, Architecture A Profession or An Art published in 1892. Those essays were written just when Schultz was commencing practice and must have shaped his own views. But Schultz’s abiding philosophy was summed up in the first paragraph of Lethaby’s essay, ‘The Builder’s Art and the Craftsman’: ‘The art of architecture is thus the co-ordination of the several crafts in the achievement of right or beautiful building; and this not only in the outer form and adornment, but in the very structure and anatomy. Architecture is the easy and expressive handling of materials in masterly experimental building — it is the craftsmen’s Drama.’

Type
Research Article
Information
Architectural History , Volume 22 , 1979 , pp. 88 - 115
Copyright
Copyright © Society of Architectural Historians of Great Britain 1979

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Footnotes

1

In December 1914, to protect his wife, who was a local J.P. and Councillor, from the anti-German hysteria of the time, Schultz added another Weir (his mother’s maiden name) to his name and thereafter became known as R. W. S. Weir. Since his important work all precedes this date he is referred to generally as ‘Schultz’ but as ‘Weir’ when referring to work or writings after 1914.

References

Notes

2 Printed in The British Architect, 4 February 1910, pp. 87-89; and 11 February 1910, pp. 104-05.

3 For Schultz’s own comments on this book see p. 10 of Robert W. S. Weir, ‘William Richard Lethaby’, paper read before the Art Workers’ Guild on 22 April 1932, and subsequently published by the Central School of Arts and Crafts, 1938. Reprinted in the A.A. Journal, LXXIII (June 1957), 7-14. This important paper is referred to throughout as Weir, WRL, 1932; page nos. refer to the AAJ reprint.

4 Isabella Schultz subsequently married the Reverend S. Kerr of Yester, near Gifford. She died in 1882 at Edinburgh, two years before Schultz left Scotland for London. (From tombstone in Melrose Abbey churchyard.)

5 An important work of Anderson’s which shows the fusion of both medieval and renaissance characteristics was the Central Hotel, Gordon Street, Glasgow (1881-84) (see Physick, J. & Darby, M., Marble Halls, London, 1973, p. 187 Google Scholar), designed and built while Schultz was at the office.

6 Schultz’s measured drawings of Dunblane Cathedral survive, together with drawings of Holyrood Palace, Holyrood Abbey, and Donibristle House, Fife, all dated 1880.

7 See Crook, J. Mordaunt, in Victorian South Wales (Victorian Society, 1969), pp. 18–20 Google Scholar, pls. 9 and 10 (see also n. 36 below).

8 For details of Shaw’s pupils and assistants see Saint, A., Richard Normati Shaw (1976), pp. 438–39 Google Scholar. Schultz Weir wrote an obituary of Prior in RIBA Journal, 39 (1931-32), 859.

9 G. Horsley, ‘The Unity of Art’ in Architecture A Profession or an Art, pp. 199-201.

10 Ibid., p. 201.

11 Weir, WRL, 1932, p. 9.

12 The sketch-books are in the Keith collection and some of the drawings survive in the Waters collection. Schultz Weir sent all his office working drawings for salvage during the Second World War but kept some of his sketches, measured drawings, perspectives, etc. (Waters Collection).

13 See DNB entry on Sir Ernest George (1839-1922) by Darcy Braddell, also an appreciation by Dawber, E. Guy, Builder, 15 December 1922, p. 903 Google Scholar.

14 Baker, H., Architecture and Personalities (1946), p. 15 Google Scholar.

15 See Girouard, M., Sweetness and Light (1977), p. 224 Google Scholar, and Idem, ‘Cadogan Square’, Country Life, 16 and 23 November 1978.

16 The original drawings are in the V. & A. Print Room. Published in A A Sketch Book, New Series, VIII.

17 Schultz was recommended for the RA School of Architecture on 31.12.1884 by W. McKay, 18 Mornington Road, N.W. (from RA Admissions Book).

18 Weir, WRL, 1932, p. 12.

19 Obituary, Builder, 11 April 1941, pp. 367, 382; also Who’s Who in Architecture, 1923, p. 252.

20 Three sheets of drawings dated 1885, V. & A. Print Room. Published in A A Sketch Book, New Series, VI.

21 Illustrated in The Builder, 31 December 1887. Over the arched entrance are sculptured figures copied from four of the panels on the Tower of the Winds, Athens, and the flanking first-floor windows are divided by caryatids. Schultz also received, ‘For the best design in Architecture’, The Works of Sir Joshua Reynolds, 2 vols, by H. W. Beechy.

22 See 1887 Sketch Books.

23 Building News, 16 December 1887.

24 Weir, WRL, 1932, p. 9.

25 See list of published measured drawings.

26 A letter of support was also sent by Norman Shaw to the RA, dated 27 January 1890 in which he wrote, ‘. . . Mr. Schultz — the architectural student who proposes to do this (and who is in Greece now working for the Hellenic Society), was our travelling student 2 years ago — he did excellent work and is an exceptionally careful and able man — I know him very well — for he was in my office for some years, he is a man for whom I always had the greatest regard . . .’. (I am indebted to Andrew Saint for bringing this letter to my notice.)

27 An account of their tour was contained in their Report to the British School at Athens dated December 1890, extracts from which were published in a leaflet by the School in July 1892. A memorandum of c. 1906-07 giving details of all the Byzantine churches studied by them, and the Byzantine Research Fund drawings, are in Cheltenham Museum. (Information received from Mary Comino.)

28 This preface was pointed out to me by Dorothy Reynolds.

29 See Architectural Review, 1 (1897), 192-99, 248-255. These articles include several drawings by Schultz.

30 See Brandon-Jones, J., ‘The Architectural Work of W. R. Lethaby’, RIBA Journal, April 1957, pp. 219-21Google Scholar. (Lethaby’s team also included H. Wilson, Halsey Ricardo, F. W. Troup; see also Weir, WRL, p. 11.)

31 See The Builder, 31 October 1919, description and illustration of a model exhibited at the RA War Memorials exhibition. The sketch drawings for this scheme, which was intended for the centre of the Inner Circle of Regents Park, are in the Waters Collection.

32 Edwin Freshfield, LL.D., F.S.A., became President of the Byzantine Research and Publication Fund, established in 1908, with Schultz as honorary secretary. Freshfield placed at Schultz’s disposal his whole collection of photographs of Byzantine ornament collected over a period of forty years.

33 Barnsley’s original drawings for the church are in the Waters Collection.

34 The book includes chapters by W. Harvey, W. R. Lethaby, O. M. Dalton, H. A. A. Cruso and A. C. Headlam, Schultz’s patron at Woolmer Green (see below).

35 The original drawings, six sheets dated 1891-92, are in the V. & A. Print Room, press no. DD20.

36 A comprehensive and fully documented study of Schultz’s architectural work for the 3rd and 4th Marquesses of Bute is Gavin Stamp, ‘Robert Weir Schultz, Architect, and his work for the Marquesses of Bute’, 1977 (unpublished). See also Crook, J. Mordaunt, ‘Patron Extraordinary: John, 3rd Marquess of Bute’, Victorian South Wales — Architecture, Industry and Society, Victorian Society, 1969 Google Scholar. For general background see, Abbot Sir D. O. Hunter Blair, Memoirs, reminiscences and biography of the 3rd Marquess of Bute, 1921.

37 J. Mordaunt Crook, ‘Villas of Regents Park — 2’, Country Life, 11 July 1968.

38 See interior view in Crook, Victorian Society, op. cit., pl. 8. Schultz’s sketch-books contain measured sketches dated 9 January 1892 of the circular domed entrance hall at Dover House, Whitehall (1787 by Henry Holland), which may have been the model for this chapel, although the columns at Dover House are Tuscan and the central area is raised. Schultz also made notes of the furniture and fittings and general colour scheme of Vittore Carpaccio’s Saint Jerome in his Study, including the suspended sphere, which may have influenced the designs of the library and chapel, which also contained a great suspended crystal.

39 Lethaby, W. R., Architecture, Mysticism and Myth (1891), Chapter 9 Google Scholar, ‘Pavements like the Sea’, which contains an illustration, Fig. 24, of the floor of the Baptistery at Florence based on sketches which Schultz had lent Lethaby. In 1932 Weir wrote ‘This book opened up to us younger men a hitherto undreamt of romance in architecture ... I was at that time about to do a small private chapel; into it went a pavement like the sea and a ceiling like the sky, as an accepted tradition’.

40 See Sparrow, W. H. (ed.), The Modern Home, 1906, p. 120 Google Scholar; also Davison, T. Raffles (ed.), The Arts Connected with Building, 1909, p. 13 Google Scholar.

41 The interior reconstructions and renovations which Schultz carried out at Cottesbrooke Hall (1911-14), Sandon Park (1919-20), and Netherton Hall (1920-21) are further examples of the self-effacing nature of Schultz’s work to historic buildings. Costly but invisible, they have all hitherto escaped notice.

42 ‘And were not the famous brothers Adam practical builders, who made their designs, and had trained men to carry them out under their direct employment ? ... I have in my possession copies of plans to 1/16″ scale for a country house in the South of Scotland dedicated: “Plans referred to in the contract between the Earl of Dumfries and John, Robert and James Adam, architects”, and dated 1754, and the contract exists under which they agreed to execute the whole work not merely prepare the design.’ Raffles Davison (ed.), op. cit., pp. 36-37.

43 See Weaver, L., ‘Old Place of Mochrum’, Country Life, 3 August 1912, pp. 162-67Google Scholar.

44 In the Waters Collection. Schultz’s own rendered drawing of the east and west elevations, exhibited at the RA in 1915, is in the Keith Collection. (Reproduced in Building News, 1 December 1915.)

45 Gavin Stamp notes that the design of the stalls is based on those found in Greek Orthodox churches. The prototype in walnut inlaid with bone is at the Cheltenham Museum.

46 For discussions of the chapel see Green, W. Curtis in Architectural Review, July 1916, pp. 7–12 Google Scholar; The Builder, 10 December 1915, pp. 422-23; Building News, 1 December 1915, p. 615; Country Life, 8 January 1916.

47 The Builder, 7 October 1905, pp. 365-66. (Materials and labour would have been cheap near the Cardiff docks at that time.)

48 The Builder, 15 December 1906. It was built by the Parish Council for £561.

49 See Thompson, P., William Butterfield (1971), pl. 104 Google Scholar, also pp. 186-87 for a description of scissor-braced roofs. Randall Wells was also using a heavy version of these trusses at Kempley Church (1904).

50 Lawrence Weaver acknowledges this in Village Clubs and Halls (1920), p. 11, where he mentions the hall at Cardiff as the first example of the type of roof used by Curtis Green for the Adult School Hall, Croydon, 1908. Curtis Green had an office with Weir and Troup at Grays Inn f. 1907 (see Reilly, C. H., Representative British Architects (1931), p. 100 Google Scholar). TheBritish Architect also described the halls as ‘pioneering work’, 22 January 1909.

51 Davison, T. Raffles (ed.), The Arts Connected with Building (1909), p. 16 Google Scholar.

52 It is also of interest to compare these roofs with the timber trusses over the first-floor museum of Mackintosh’s Glasgow School of Art of 1897. Although exploiting the nature of the material, they are mannered in contrast to Schultz’s straightforward approach.

53 The Western Mail, Cardiff, 27 December 1904.

54 ‘He was always up against the false position of the architects in our day . . . He rubbed that in, in his biting, antagonistic way’. Masters of the A WG from the beginning to 1934, at 6 Queen Square, entry on R. W. S. Weir, by C. R. Ashbee, 1938.

55 J. F. Bentley worked for a firm of builders in London from 1855 before joining Henry Clutton’s office in 1858.

56 Lethaby, W. R., ‘The Architecture of Adventure’, RIBA Journal, 23 April 1910, pp. 469-84Google Scholar. Later Schultz made a succinct statement of his design approach in commenting on the proposed new capital at Delhi, see Architectural Review, November 1912, p. 243.

57 See Service, A., Edwardian Architecture (1977), p. 146 Google Scholar.

58 N. Pevsner, Pioneers of the Modern Movement (1936), subsequently re-issued as Pioneers of Modern Design.

59 See Ernest Gimson. His Life and Work (1924), pl. 1; also the introduction to the catalogue of the Ernest Gimson exhibition at Leicester Museum, 1969.

60 R. W. S. Weir in discussion following a paper by SirBlomfield, Reginald, ‘W. R. Lethaby: An Impression and a Tribute’, RIBA Journal, February 1932, pp. 308-09Google Scholar. See also Weir, WRL, 1932, p.11.

61 It is possible that Schultz joined some of the Architectural Association’s excursions to visit work in progress organized by Hugh Stannus, such as that in June 1888 to Holmbury St Mary to see buildings by Street and Shaw, ending up with Joldwynds. For a discussion of this visit see Winmill, J. M., Charles Canning Winmill, an Architect’s Life (1946), pp. 21–22 Google Scholar.

62 For description see A. Saint and D. Ottewill, ‘Arts and Crafts in Berks, and Hants’, Victorian Society Tour Notes, typescript August 1978. These notes also include descriptions of Four Acre, The Barn and Tylney Hall.

63 Information provided by Sir Herbert Baker’s son, Mr Alfred Baker. Schultz was also designing a Holiday Cottage at Higham nearby (1899).

64 Sealers in turn probably influenced Acremead, Crockham Hill, Kent, 1906 by Smith and Brewer. (Cecil Brewer, Troup’s brother-in-law, had worked for Schultz in 1897, and Schultz showed a slide of Acremead in his ‘Reason in Building’ lectures.)

65 See British Architect, 29 January 1909.

66 See Newton, W. G., The Work of Ernest Newton, RA (1925), pp. 9, 46, 47Google Scholar.

67 Ibid., pp. 62-68. See also the perspective of this house which forms the frontispiece to W. H. Sparrow (ed.), The Modern Home (1906).

68 West Green House is a fine example of early eighteenth-century architecture, notable for the series of roundels containing busts of Roman emperors on the west front. It was bought by Dr W. S. Playfair (1835-1903), a Scottish physician, when he retired in 1898 as professor of obstetric medicine at King’s College Hospital. Schultz’s work included re-fitting the dining room (now destroyed), re-modelling the south front to include new bay windows and decorative leadwork, and laying out a walled garden with parterre and dovecote. A superb aerial perspective in water-colour showing Schultz’s proposed improvements is in the Waters Collection, which also contains a Schultz design for a ‘Holiday Cottage for Children from London, 1899’, built at Higham, Kent, and paid for by Dr Playfair.

69 Although not typical of Schultz’s work, it is comfortably and spaciously planned and must have found favour with the owners, for in 1906 Miss Seymour commissioned Schultz to design a second Inholmes near Winchester.

70 See Saint, op. cit., pp. 243-49.

71 See A. Service, op. cit., chapter 12, ‘The Neo-Georgian House’.

72 See O’Donnell, R., ‘W. J. Donthorn (1799-1859)’, Architectural History, XXI (1978), 85, pl. 26bGoogle Scholar.

73 See the article on Pickenham, in Architectural Review, 21 (1907), 101-08Google Scholar.

74 See Raffles Davison (ed.), op. cit., pp. 25-32. Schultz also discussed considerations of texture and colour in brickwork and showed as good examples of the use of bricks of varying colours, Sandhouse, Witley, Surrey, 1902 by Troup, and Pite’s Ames House, Mortimer Street, of 1904.

75 See Sparrow (ed.), op. cit., p. 112.

76 South Pickenham church, adjacent, was also in a dilapidated condition and was restored by William Weir (no relation). There is a detailed report on it dated June 1906 at the SPAB. Schultz probably brought in Weir, an expert in the repair of old buildings, to carry out this work.

77 See also Sparrow (ed.), op. cit., p. 72.

78 See Building News, 28 July 1905, p. 113 and plate; also British Architect, 29 January 1909.

79 Franklin, J., ‘Edwardian Butterfly Houses’, Architectural Review, April 1975, pp. 220-25Google Scholar.

80 The British Architect, 11 May 1906, ‘Architecture at the Royal Academy — 2’. See also Academy Architecture, 1906, p. 56; Builders’ Journal, 19 September 1906, p. 136; Building News, 11 May 1906, p. 669.

81 The plasterwork may have been designed by Bankart or by Schultz himself. (The woven vine design is a traditional Byzantine motif.)

82 Schultz kept an album of cuttings from the advertisement pages of Country Life in which he noted examples of old houses according to county.

83 General Sir Reginald Wingate, G.C.B. (1861-1953) (created ist baronet in 1920), was Sirdar of the Egyptian Army, and Governor-General of the Sudan from the re-conquest in 1898 to 1917. He thus met Schultz in connexion with Khartoum Cathedral.

84 The extent of his knowledge is indicated by a letter written to A. B. Waters, dated 24 August 1940, giving detailed advice on planting of trees and hedges suitable for housing schemes (Waters Collection).

85 Lionel Phillips (1855-1935), a millionaire diamond merchant who had to leave South Africa after being involved in the Jameson Raid of 1896, bought Tylney in 1897 and largely rebuilt it from 1899 to 1901 with R. Seiden Wornum (1847-1910) as his architect. (See also n. 62 above.)

86 The Westminster Gazette, 12 September 1905, letter headed ‘No more slums. The need for a new code of building byelaws’.

87 For example Unwin’s Nothing Gained by Overcrowding (1912).

88 SeeBuilding News, 22 September 1905, p. 393; Architectural Review, 1905, pp. 108-15, 154-69.

89 Described and illustrated in detail in The Builder, 19 December 1913, pp. 671-72, 674. The general arrangement was similar to Troup’s design for the Letchworth competition. Materials were brick and weather-boarding with pantiled roofs and central chimney-stacks.

90 For a description of the village, see L. Weaver, Country Life Book of Cottages (1919).

91 See letter on this subject from R. W. S. Weir to the Earl of Crawford and Balcarres, 5 January 1927 (Keith Collection).

92 ‘A Kent Cottage’, Country Life, 12 August 1905, pp. 185-87. The reinstatement of the open hall was in fact never carried out.

93 Country Life, 26 August 1905, pp. 286-87.

94 Illustrated in The Builder, 8 September 1900, pp. 214-15.

95 The wards were not unlike those designed by Sir Gilbert Scott for the Leeds Infirmary in 1864.

96 Minutes of Glasgow Parish Council, 1900 (D-HEW 1/2/9), pp. 335, 336, 345-47.

97 The hospital was built to provide for the poorer classes. Cost was thus an important criterion, as stated by the chairman of the Parish Council at the opening ceremony (Glasgow Herald, 16 September 1904).

98 A. Latham, in association with W. West, The Prize Essay on the Erection of a Sanatorium for the treatment of Tuberculosis in England (1903).

99 Fully illustrated in Architectural Review, June 1906, pp. 277-312.

100 The Annual Report of Holloway Sanatorium for 1903 states that the committee felt that it would be more convenient to employ an architect within easy reach of the Sanatorium. ‘After considering several names’, Schultz was appointed. The presence of a J. K. J. Hichens on the committee suggests another factor.

101 Nairn, I. and Pevsner, N., Buildings of England: Surrey (1971), pp. 314, 444-46Google Scholar.

102 It also recalls George and Peto’s 17 Collingham Gardens built in 1887, when Schultz was at the office.

103 A. C. Headlam (1862-1947) was a man of strong character and an active supporter of Christian reunion; he had travelled and explored in the Near East, studying the churches of Eastern Europe, and had probably met Schultz through the Byzantine Research Fund. In 1903 he was appointed Principal of King’s College, London, and in 1923 consecrated Bishop of Gloucester. He contributed to The Church of the Nativity in Bethlehem which Schultz edited in 1910, and had himself published Ecclesiastical Sites in Isauria (1892).

104 Much to the chagrin of Lutyens who made a coarse and totally misleading remark about Schultz at the time in a letter quoted by Hussey, Christopher in his Life of Edwin Lutyens (1953), p. 95 Google Scholar.

105 F. E. Ballin, ‘Woolmer Green’s Church and School’, Hertfordshire Countryside, May 1971. A brief description of the church with perspectives by Geoffrey Lucas was published in The Building News, 11 January 1907.

106 Similar to Lethaby’s at Brockhampton of two years later.

107 See review of RA Exhibition, The Builder, 8 May 1909. The perspective (Pl. 41) was illustrated in The Builder, 11 September 1909.

108 Builder’s journal, 5 May 1909.

109 Later, when a separate Diocese of Khartoum was created out of the Bishopric of Jerusalem (which included Cairo), a cathedral became a necessity.

110 The site is a stone’s throw from the spot where Gordon was killed in 1885. After an attempted coup in July 1971, All Saints Cathedral was closed by order of President Nimeiry for reasons of security. The whole Cathedral compound was enclosed within the Palace walls and is therefore inaccessible. The Cathedral was broken into on more than one occasion and all the architect’s plans and specifications have been destroyed. (Information from The Rt Rev. Oliver Allison, former Bishop of the Sudan.)

111 R.W.S. to Major P. R. Phipps, Secretary of the Khartoum Church Fund, 8 March 1906. (Keith Collection.)

112 This arrangement of continuous nave and chancel galleries was first used by Pearson at St Augustine’s, Kilburn (1871), and imitated in several late Victorian churches, e.g. Brooks’s SS Peter and Paul, Dover, 1891-93.

113 The Sirdar suggested placing the vestries below the choir (see letter from R.W.S. to P. R. Phipps, 14 September 1906, Keith Collection), but Schultz had included this arrangement the year before in his scheme for St Andrew’s, Rothesay.

114 Latimer was assisted in the supervision of the buildings by Captain Done, R.E., Director of Military Works in the Sudan, and later by W. H. MacLean, Professor of Engineering at Gordon College, Khartoum. Even so, the remoteness of the site posed enormous problems for Schultz. The friction between Latimer and Done was a source of constant worry to him and, together with the pressure of other work, resulted in his serious illness at the beginning of 1911.

115 See Weir’s own description of the construction in The Builder, 19 May 1916, pp. 371-73 and plates.

116 A similar device had been employed for Shaw’s unexecuted design for a church at Port Elizabeth, South Africa, c. 1883. See perspective drawing by Lethaby in Saint, op. cit., p. 287. In practice the building proved cool, though ‘punkahs’ (mechanical fans) were later introduced (ex inf. the Rev. P. A. Blair).

117 Illustrated in Ernest Gimson: His Life and Work, pi. 34. Sidney and Edward Barnsley later made the entrance doors.

118 For example, see letter from E.G. to R.W.S., 31 August 1911, suggesting amendments to Schultz’s design for the clergy seats thus, ‘The moulded framing construction works very well for the doors but is full of difficulties for the seats besides coming much too small in scale : so we are leaving the 2″ framing square and taking precautions against shrinkage by carefully selecting all framing out of quartered stuff and allowing for movement by grooving and by slotting some of the tenons where pinned.’ Also R.W.S. to E.G., 18 June 1914, suggesting amendments to the design of the lectern similar to something he had seen in the Cairo Museum, ‘Generally it seems all right and I should think would be quite light and also would not topple over easily. The only one point that I should like to refer to is the turning of the central pillar which looks rather “Jacobean-y”. If this is not done already perhaps you would alter it a little bit to make it a little more like the enclosed which is from an old example in the Cairo Museum and which I ought to have given you from the first. The cutting on the spurs on the supports to the legs on this old example is also I think a little better than the one you have drawn’. (Letters in Keith Collection.)

119 E.G. to R.W.S., 28 October 1913.

120 Weir, R. W. S., The Builder, 19 May 1916, p. 373 Google Scholar. The screen is of teak and employs traditional, Arab diagonal patterns in its design.

121 Described and illustrated in The Builder, 18 October 1912, p. 439 and plate. Original cartoons in the Keith and Waters collections.

122 See Cathedral Church of All Saints, Khartoum, appeal brochure published by the Khartoum Cathedral Committee, December 1913.

123 Illustrated in Building News, 8 December 1915. The tower was completed as a memorial to Major-General Sir Lee Stack, Governor-General of the Sudan, 1917-24. Illustrated report in The Sphinx, Cairo, 7 February 1931.

124 After his first visit to the site in January 1907, Schultz spent several weeks visiting such places as Wady Halfa, Assouan, Karnak and Sakhara. He also spent ‘many happy days’ sketching at the excellent Arab Museum in Cairo to which his beautiful sketch book testifies.

125 Schultz must have been mindful of Brockhampton and Kempley when working out the details for Khartoum, and his sketch books show that he visited them on 25 September 1907. He would probably also have seen at least the drawings of Roker.

126 Schultz had few opportunities of using direct labour, but his repeated use of the Basingstoke firm of Mussellwhite and Sapp suggests that he recommended them to his clients rather than adopting the open tendering system.

127 The British Architect, 5 March 1909, pp. 164-66 and plates. See also idem, 15 and 29 January 1909. Randall Wells himself wrote, ‘I did not propose to hamper the building with pre-arranged drawings of details’, p. 165.

128 This was the busiest period of Schultz’s practice. But he had progress photographs sent to him at frequent intervals by the resident clerk of works. (Photograph album in the Waters Collection.)

129 The Builder, 14 May 1911.

130 R.W.S. to Major P. R. Phipps, 22 April 1907, Keith Collection.

131 See R. W. S. Weir, op. cit., p. 372.

132 Pevsner, N., ‘Quarr and Bellot’, AR, April 1967, pp. 307-11Google Scholar.

133 See Clarke, B. F. L., Anglican Cathedrals outside the British Isles (1958), pp. 47–48 Google Scholar, for a brief description of Khartoum and for an acknowledgement of the help given to Schultz by Judge (later Sir Wasey) Sterry.

134 Troup also designed 20 Old Queen Street, 1909, for H. G. Spicer. Weir’s office manager, Arthur Curtis, transferred to Troup after the First World War.

135 Obituaries: The Builder, 11 May 1951, p. 663; The Times, 10 May 1951, p. 8, col. g (4th edition); Hants and Berks. Gazette, 4 May 1951, p. 8. A talk was given at the AWG in 1952 by A. B. Waters, his last assistant.

136 The Lethabys lived at Albion Cottage (now Beech Cottage), Hartley Wintney from 1918-20. Weir refers to this in WRL, p. 14.