The cleaning and restoration of the decorative stonework at St.Paul's made me think that this was a good time to take a look at the different types of stone used in the construction of the building.

Until about 200 years ago nearly all churches were built out of local materials but the canals, and then even more so the railways, gave the opportunity for stone to be transported around the country at affordable prices, and architects began to look at using a greater variety. Most of St. Paul's as we see it now dates from 1867, when it was rebuilt after a fire, and though the church was rebuilt in a hurry, each kind of stone has its story to tell. Five main types can be distinguished, each of different origins and purposes.

Pennant Sandstone. This grey sandstone is used for the exterior of the building, as it was for many buildings in Bristol in the period 1860-1900. It is a coarse sandstone, sometimes even gritty, and can vary in colour from grey to purple. It comes from the Upper Coal Measures, which makes it about 290 million years old. It is widely found in east Bristol and there were many quarries along the River Avon between Temple Meads and Keynsham. Its attraction as a building stone was that it was local (and therefore cheap to transport), durable, and was capable of being roughly squared off into blocks relatively easily. However its dark colour and the fact that it can be neither carved nor polished mean that it is not used indoors.

Bath Stone. This is the honey coloured stone used for the carved parts of the exterior, and for the bases and capitals of the pillars in the nave and for the arches. It is an oolitic limestone. Oolitic means that it consists of grains that look like fish roe; these are not grains of sand but of lime. Its age is Middle Jurassic, or about 170 million years ago. It was quarried on Dundry Hill for many years, and still is around Bath, where it is worked by the traditional method of extracting it form underground galleries. When it is first brought to the surface it is very soft, almost like cheese, which makes it easy to carve. Thus it is the stone used for decorative items such as capitals, angels and so on. It is then left outside to harden up before being used in buildings.

Red Sandstone. This is used for the pillars in the nave and for the stripy effect in the chancel arch. It dates from the Triassic period, about 210 million years ago, when the climate was hot and arid. Red sandstones of this age is found in many parts of the country, including in the centre of Bristol - Redcliffe Caves are cut into it, for example. However there are both geological and historical reasons for thinking that the stone in St. Paul's actually came from the Midlands. First, it doesn't look 100% like the sandstone at Redcliffe, and in any case by the 1860's stone of building quality was not available from central Bristol. Second, it could well be from the Midlands, where it was extensively quarried as building quality stone throughout the 19th century. The architect for the rebuilding of St. Paul's was the Birmingham-based Charles Hansom, and we know that he did favour Midlands based-suppliers (as with the windows at St. Paul's, which were made by Hardmans of Birmingham). Perhaps he preferred to deal with suppliers he knew to be reliable.

Red Granite. This is used as an ornamental stone for columns, for example on the front porch, under the gallery and the newly uncovered columns either side of the window above the high altar. Granite is formed by molten rock cooling underground and forming crystals. Three different crystals can be seen; feldspar, which gives it the red colour, quartz, which is white, and biotite mica which appears as black flecks. Hansom worked on St. Paul's while he was in Bristol on a much bigger project, Clifton College. Granite just like this is used at the College and I suspect that he ordered a job lot for the College, and used some of it at St. Paul's! Red granite like this could be from a number of places, but Peterhead in north-east Scotland is the most likely source.

Marble. Marble is the most expensive stone used in the church, and so the one used least often. It appears as decoration on the font and pulpit, and in the newly cleaned small pillars either side of the reredos. Marble is a metamorphic rock, formed by limestone being subjected to intense heat and pressure during earth movements underground, hence its wiggly pattern. The marble we have was probably imported from the Continent, but it would need an expert to identify exactly where it came from!

October 1997

The Chancel at St. Paul's

Julian Small

The best history of Bristol's architecture published in recent years praised St Paul's as "until recently, an untouched Victorian interior." Even presuming that the 'recently' refers to the erection of the present dais, this statement is not strictly true.

In the Victorian era, the chancel was the visual and liturgical centre of attention in the church. The priest stood at the altar, and the choir - at least semi-divine, being seated within the chancel - led the congregation's gaze towards him. But to further concentrate attention on the chancel, most of the colour in the church was concentrated there. At St Paul's we still have the reredos, these days the largest concentration of colour in the church. But when the church was built in the 1860s, the whole of the chancel was rich with colour and decoration, and it is this which has largely disappeared. As in so many churches, the colour has been greatly toned down, strong colours and ebullient decoration being as foreign to today's taste as Certainties of Faith and Muscular Christianity.

The decoration of the chancel at St Paul's was as elaborate as that of most Victorian churches. But a wealthy parish like St Paul's could provide fittings which were not merely impressive but also expensive and often of high quality. The reredos, for example, incorporates pieces of mother-of-pearl within the mosaic work, and the patches of gold are - a common Byzantine technique - clear glass backed by, presumably, gold leaf. The tiled floor of the chancel contains eleven different patterns of inlaid tiles and nineteen different varieties of plain coloured tiles, laid in a splendid and unusually intricate mosaic, the levels being separated by steps made probably of Serpentine. The patterns of the tiles are inspired by 13th century originals from Westminster Abbey Chapter House and from Chertsey Abbey, and include a number of unusual designs. The walls of the chancel were originally extensively painted, with different designs to each of the three tiers above the level of the reredos. These have been whitewashed over for many years, apart from the four very fine angels holding scrolls, in the spandrels of the arches.

All this decoration functioned as intended and even today, as a backdrop, concentrates attention on the present position of the altar. The chancel is used today in a very different manner to the 1860s, but that, too, was markedly different to the way it had been used during the 17th and 18th centuries, when the priest conducted most services from a stall just outside the chancel arch, the chancel only being used - although then for the whole congregation - for the infrequent communion services. This, in its turn, was a totally different way of using the church building to that of earlier periods. And, no doubt, in 50 years time our successors will be experimenting once again in preparation for a Church Reorganising, and the use of the chancel may by then be fashionable again.

November 1997

The ReredosBy Martin Laker

Everyone who comes into St. Paul's is struck by the reredos. What's it doing there? It's been remarked that the style and content are not what you'd expect for what was then a notionally low church. Certainly its installation was the biggest change in the interior of the church between the time it was built in 1868 and now.

A brass plate on the wall is our first clue. It tells us that the reredos, railings and redecoration of the chancel were given to celebrate the wedding of Daisy May White and Ernest J. Hudson in December 1902. This re-ordering of the chancel was nothing if not comprehensive. Out went the previous reredos, designed by Charles Hansom in the Gothic style with decoration by Hardman's of Birmingham. Out too went the low stone wall that previously separated the nave from the chancel - it was smashed up and the bits buried under the floorboards (they were found when the dais was installed). And out went most of the other fittings from 1868.

All this must have cost a lot of money. We know from the order books of Powells of Whitefriars that the reredos cost £347 when it was installed in 1903. Taking into account the rest of the work, the total cost must have been at least £600 pounds. Clearly this was no ordinary gift to the church!

It turns out this was no ordinary donor. The man who gave the money was Sir George White, a transport tycoon who was the Richard Branson of his time. White started life as plain Mr George White and was of lowly origins. He was born on 28th March 1854. His father was a painter and decorator; his mother had been a domestic servant before she was married. Their home was in Kingsdown and George attended St. Michael's Boy's School. In 1869, aged 15, he started work at a top Bristol law firm Stanley & Wasborough, as a junior clerk. White was put to work on bankruptcy cases, and soon impressed the partners with his dedication and grasp of detail. In 1870, his firm became involved in the promotion of a horse-drawn tram system for Bristol. White set about learning the complexities of tram legislation. After four years arguing with the City Council (shades of the current Tram system proposal!) the businessmen behind the scheme finally got approval in 1874. George White, aged only 20, was appointed part-time Company Secretary to Bristol Tramways Co.

Through the tram company White gained access to many prominent Bristol businessmen. In 1875 he left Stanley & Wasborough to set up in business as a stock broker, while remaining secretary of the tramways. The tram lines expanded across Bristol and White became increasingly important in the company. As he became more wealthy, he was able to get involved in business ventures himself. Using all his knowledge, he would buy up shares in failing transport concerns, turn the company round and then sell it on again at a profit. He also was much in demand to rescue ailing tram companies, and at various times ran the systems in Gloucester, York, Dublin, Middlesborough, Reading and West London.

By the 1890s White effectively in charge of the Bristol Tramways Co, and he recognised that not all was well the business. The service was slow and unreliable. Bristol's hills made it singularly unsuitable to horse drawn trams. The horses could only work for a few hours a day. Horses accounted for 50% of the income, compared with on 35% on the human employees. White and his engineer looked at the options and came down on electrification. Although the capital outlay was large to start with, it was a cheap, clean solution that could cope with Bristol's hills and allowed faster speeds, bigger trams and lower fares. Thus Bristol became the first city in the country to have electric trams. Within five years, passenger numbers and profits both doubled.

By 1902, White was a very wealthy man. He and his wife Caroline had two children - Daisy May, born in 1877 and George Stanley born in 1883. It was his Daisy who was married at St. Paul's and who is commemorated by the gift of the reredos. To put his gift into context, the reredos cost about the same as the annual salaries of five tram White's drivers. As yet, his connection with St. Paul's beyond this hasn't been traced. As to the design of the reredos, it is worth noting that White's sister Elizabeth was married to the Bristol printer and designer Edward Everard, creator of the amazing tiled frontage for his printing works in Broad Street. White used Everard to produce all his company publicity. I wonder whether he involved him in the design for St. Paul's?

His views on the church in general were tempered by his business mind. When Bristol City Council opposed trams running on Sunday mornings on the grounds that it might discourage people from going to church, White argued that it was no problem of his if the working classes preferred to spend Sunday mornings on the Downs rather than go to Matins. It was the job of a tramway company to run trams and it was the church's job to get people to go to church. Nevertheless the council did block Sunday morning trams for a number of years.

White remained at the forefront of technology. The arrival of motor vehicles saw him expand into buses and taxis. A few years later came the invention of the aeroplane. He immediately saw the long-term commercial potential of aviation and founded the aircraft industry in Bristol. The British & Colonial Aeroplane Company's factory was built at Filton, at the northern terminus of the Bristol electric tramway. It's now the British Aerospace site.

Sir George White died on 22nd November 1916, by which time the First World War had vindicated his ideas on aviation. His family remained involved in the aircraft business until the 1960s. There is a good web site on the history of the aviation industry in Bristol and the role of the White family:

www.bristol-aeroplane.com/index.html

Few people have made such an important contribution to the development of Bristol as Sir George White, and St. Paul's is fortunate to have a connection with such a prominent figure in the city's history. The White family have kindly provided me with some family information about the wedding:

Mr. E. J. Hudson to Miss D. M. White.

A BRILLIANT wedding at Clifton, Bristol, was that of Miss Daisy May White, only daughter of Mr. George White, J.P., of Cotham House, to Mr. Ernest J. Hudson, son of the late Mr. Frank Hudson, J.P., and Mrs. Hudson of Godden Green, Sevenoaks, which was solemnised at St. Paul's Church, Clifton, on December 3rd. Great preparations had been made for the event, and hundreds of people, besides the invited guests, assembled at Cotham House and at the church as the hour of the wedding drew near. St. Paul's was profusely decorated with flowers, lilies covered the altar and were arranged in front of the choir stalls and in the chancel, with white heather and palms in the windows, and a mass of lilies of the valley embowering the font. By two o'clock the church was crowded to its utmost extent, and people were standing in the aisles, the organist playing voluntaries as the guests assembled. As the bride entered the church on the arm of her father, the bridal chorus from “Lohengrin" was played, and “The Voice that breathed o'er Eden " was sung as the bridal procession passed up the aisle. Miss White's wedding dress was an ivory satin mousseline skirt, flounced with Irish lace (the gift of her grandmother), draped over ivory accordion‑pleated chiffon, the bodice with lace hanging from the yoke, and lace sleeves. She wore a tulle veil and a wreath of real orange blossom, and her ornaments were a diamond necklace (gift of her mother), a diamond brooch (from her brother), and a diamond ring, brooch and bracelet, which, with her white bouquet, were presented by the bridegroom. Her full court train of satin lined with chiffon was borne by the train‑bearers, Master Neville Hudson and Miss Gwendoline Speyer (nephew and niece of the bridegroom), the girl in Liberty satin, with a tucked chiffon cape edged with mink, and a satin bonnet with ostrich feathers and chiffon, and the page wearing a satin suit with, collar and cuffs of Irish lace. The four bridesmaids‑the Misses Mildred and Katie Baker and the Misses Ethel and Edith Gardiner, wore pale Laurier 'Cloth 'Costumes with guipure appliqué and mink edging, under‑sleeves of ivory accordion­ pleated chiffon and chiffon vests. Their Lamballe hats were draped with Bois coloured tulle with pink chrysanthemums and Bois ribbon velvet. The bridegroom's presents to them were muffs en suite and diamond daisy brooches. They were accompanied by groomsmen, Mr. Sydney Baker, Mr. Roland Baker, Mr. Alfred Gardiner, and the best man, Mr. G. Stanley White (brother of the bride). The officiating clergy were the Rev. W. E. Haigh, vicar, assisted by the Rev. E. Rogers and the Rev. Archibald Sewell, the vicar giving the address. The service was fully choral, including the hymn "O Perfect Love," and, on the organ, "O Rest in the Lord," and Mendelssohn's wedding march.

After the ceremony the guests returned to Cotham House, where the reception was held. A temporary annexe was added to the drawing‑room, and was artistically decorated with flowers and plants and draped with silk; the whole of the garden was planted with blooms, and incandescent lamps were suspended from the roof of the awning over the carriage way. The Blue Hungarian Band attended. When the bride and bridegroom returned to Cotham House they entered the annexe, and, surrounded by the bridal group, stood under a floral bell, the electric lamps in which shed a brilliant light upon them. As the guests arrived they were received in the drawing‑room by the bride's parents, and then passed on to be welcomed by Mr. and Mrs. Hudson. Amongst the company invited were Mrs. Hudson, Mr. and Mrs. Frank Hudson, Mrs. White., Mr. Samuel White, Mr. and Mrs. Arthur Speyer, Sir Robert H. Symes (the Lord Mayor of Bristol) and Lady Symes, Sir John and Lady Bell, Sir James and Lady Whitehead, Col. and Mrs. Brock, Col. Cholmeley Harrison and officers of 1st Royal West Kent Regiment, Mr. and Mrs. H. Napier Abbot, Mr. L. Cranfield Abbot, Miss May Alexander, Mr. W. Alexander, Mrs, and Miss Badock, Mr. and Mrs. Edgar Baker, Mr. and Mrs. E. A. Baker, Mrs. Thomas Baker, the Misses Baker and Messrs. Baker, the Misses Bartlett, Mr. and Mrs. Boyce, Mr. J. Boyce, Miss Boyce, Mr. and Mrs. L. Wreford Brown, Mr. and Mrs. J. T. Board, Mr. and Mrs. A. D. Brookes, the Misses Branch, the Rev. W. F. Bryant and Mrs. Bryant, the Rev. E. B. and Mrs. Bradley, Mr. Washington Chamberlain, Mr. Sydney Caroe, Mr., Mrs. and Miss Coate, Mr. B. A. Cater, Mr. and Mr. Richardson Cross, Mr. Ivor Downing, Mr. and Mrs. Doggett, and very many others. The presents were not only most numerous, but very beautiful and costly. Towards evening Mr. and Mrs. Hudson left for the Riviera amidst the pealing of the bells of the Clifton churches. The bride went away in a costume of pale faced cloth lined with eau de nil silk, with gold and white cloth embroidery, and a vest of ecru and while broché chiffon. She wore a Russian sable cape (gift of her mother), and her ivory white hat was veiled in castor tulle and had a garland of shaded rose.

Mosaics

By Martin Laker

Shedding some light on the matter of the stained glass at St. Paul's

Julian Small

Any church gains visually from having a complete set of windows in a single style; at St Paul's we have the great good fortune that all the stained glass in the church, apart from the windows in the clerestory, is the work of a firm which, although prolific, generally maintained high standards of design and workmanship. This firm was that of John Hardman & Co. of Birmingham. Victorian stained glass has, until the last few years, borne a very poor reputation: Alec Clifton-Taylor writing in 1974, considered that "the general standard of (Victorian) windows is frankly appalling." Interest has grown since 1974, but it can't be denied that a lot of Victorian stained glass, particularly in town churches, is dull or worse. What is more, the most common problem with Victorian glass is the variety of styles which, too frequently, do not harmonise. A visit to St Mary Redcliffe Church brings this fact forcibly home, with too many windows visually trying to shout each other down.

This apart, the greatest fault with Victorian stained glass results from the difference between painterly qualities and what I'd better call vitreal qualities - too many stained glass artists, even today, just cannot tell the difference. As well as most of the qualities which go to make a fine painting, the stained glass artist has to keep in mind certain others, including, especially, the effects of the stone tracery and the results of light on the window. The second of these means that rich, sombre colours and, even more, heavy surface painting to produce naturalistic detail, should be avoided at all costs. All these condi tions are ignored, to deplorable effect, at Chard Church in Somerset, where the fact that most of the windows were made as a set does help the effect - but that effect is one of gloom on bright days and near-darkness at any other time.

The windows at St Paul's, however, manage to avoid nearly all the problems associated with Victorian stained glass. They vary in quality, but the best are very good indeed.* The style is distinctively that of Hardman's of Birmingham, under their chief designer John Hardman Powell. Powell had been trained by his uncle, the Gothic Revival architect and designer A.W.N. Pugin, but after the latter's death in 1852 and his succeeding his uncle as chief designer to Hardman's, his style quickly developed under the influence of 14th century Italian, particularly Sienese, models, into something far from what his uncle had taught. As the St Pauls' windows show, it continued to develop in some respects for the rest of his life.

What is particularly interesting about the St Paul's windows is that, although all by the one designer, and intended as a set they vary in date between at least 1871 and 1887. Had all the windows been commissioned at the same time it would be hardly surprising for them all to be the work of one firm; but to persuade donors to return to one firm over a period of at least sixteen years is quite an achievement, particularly at a period when up to eight firms supplying stained glass were based in Bristol alone. To persuade prospective donors to do this must have taken a strong-minded vicar (in these days, such 'strong leadership qualities' would no doubt have made him a fancied runner in the Canterbury Stakes). The resolution required for this would make easy the task of persuading the stained glass artist to retain the main lines of the earlier design - all the windows of whatever date have the same canopy and setting (and an unusually heavy frame for Powell, at that).

The first St Paul's Church, completed in 1853, had been burnt down after only fourteen years, and it was rebuilt in 1868 by C.F. Hansom (his brother, also an architect, invented the Hansom-cab), retaining the steeple from its predecessor. Clifton was then, even more than today, a prosperous area, and the money for rebuilding was not difficult to find - would that a 20th century reordering were as easy!

Most of the windows in St Paul's have dates. When, however this is merely the date of death of the person commemorated, this is of limited help. However, one of the windows in the south aisle (the one an the right looking from the main door) was offered by the Congregation Christmas 1871 and two others also have firm dates, so it is possible to establish a sequence.

Unfortunately the east and west windows are undated, but as the east window, above the altar is the focus of the congregation's attention, it was probably amongst the earliest windows inserted. Indeed as its details differ from all the other windows it is quite likely to be contemporary with the rebuilding, 1868, with all the other windows in the church then having clear or, at the most, simply patterned glass. Appropriately, the east window shows the Conversion of St Paul, in three episodes: the Stoning of Stephen; Saul struck down on the Road to Damascus; and (presumably) Ananias curing Paul's Blindness, although it is the standing figure who wears clothes more similar to those of Saul in the second scene.

The windows along the south aisle were the next to be glazed. They may all have been commissioned at the same time, inviting members of the congregation to pay for them or they may have been inserted more gradually as people came forward wishing to commemorate the deceased; they were undoubtedly conceived as a set, a cycle of Christ's life from Nativity to Ascension although, most unusually, excluding a Crucifixion scene - perhaps one was intended for another window. These windows take scenes from all four Gospels, with appropriate texts at the base of each scene; each incident is related particularly to one Gospel: the Raising of Jairus' Daughter, for example, follows Mark's Gospel (Jesus has just landed from a ship) rather than Matthew or Luke and the texts are Mark 5, vv.35 & 41. The faces differ between windows, but the figures are typically elongated and swaying and all the scenes are in highly stylised settings, with little attempt to show naturalistic landscape. The colour range is relatively limited and the scenes are clear and easy to read - surely the best test of success in stained glass. As in the east window, the use of space (notably in the scene of the young Christ with the Doctors in the Temple) is very effective.

The latest windows in the church are those in the north aisle: The Raising of Lazarus (dated 1887) and Christ Walking on the Water. Whilst most of the south aisle windows confine each episode to a single light, in these windows (as in the Adoration of Magi and Shepherds opposite) the action spreads across both lights in a way that transcends the existence of the tracery, a feat managed by only a small minority of 19th century stained glass artists. The colour range is much greater than in the earlier windows and the setting is more naturalistic, but the scenes, by skilful use of colour and composition, are again clear and easy to read.

So, if you're bored during the sermon, don't sit twiddling your thumbs or go to sleep - have a look at the stained glass instead: it's well worth it!

November 1990

1. "Saul is very deficient in brains"
Compiled from the researches of Julian Small by Martin Laker

After the first St. Paul's church burnt down in 1867, Charles Hansom was engaged as architect to rebuild the church. Hansom lived in the parish and was working on one of his biggest projects, Clifton College, at the time. He had begun his career in Birmingham where through business, and through the Roman Catholic, church he had formed close associations with Hardmans. As we shall see, he was on personal terms with many of the staff, but this didn't stop him being very demanding about his requirements.

When the church was rebuilt, simple unpatterned pastel glass from a local firm was installed. Stained glass could then be installed as and when funds allowed. The first window to be commissioned was that above the high altar depicting three scenes from the life of St. Paul.

Hansom wrote to Hardman's

St Nicholas Chambers
Bristol,
October 12th 1868

Gentlemen,

St Paul's Ch. Clifton.

We shall be glad to receive from you a sketch and Estimate for the East Window of this Church. It is a Protestant Church, which was destroyed by fire and wh. we have just rebuilt. The subject is to be the convertion [sic] of St Paul.

This window is the so-called East window, but really faces N.W. by North, and has a bad light from behind, there being a house within 15 or 20 feet- There is also a rather strong light from the clerestory windows - but in these it is intended to place stained glass. The cill of [the] window is 22 feet above the Nave Floor. 

We have been requested to ask you not to make this glass too delicate in colour.  As to cost £175 is about the limit we are authorised to spend on the glass, but your estimate must also include in addition all expenses of carriage & fixing, wire guard, removing old glass (which must be left here) & commission - Should you require any other information, we shall be happy to give it to you -

We are Gentlemen

Yours obedtly

Chas F. Hansom & Son

Archts

Messrs Hardman & Co-

P.S. Enclosed is a tracing of the working drawing of stonework

to 1/2 inch scale-

For "removing old glass (which must be left here)" read "dump it in the crypt". It's still there! Hardmans duly turned the sketch around in a fortnight, but it was not up to scratch

Clifton 31. Oct 1868

Dear Sir

The sketch of Window sent for St Pauls is not liked at all.

We should like to have a slight pencil sketch knocked off at once as follows.

light No.1. the stoning of St Stephen light No 2  the conversion of St Paul i.e. the scene on the road to Damascus - and 3rd Ananias laying his hands on Saul.  In the circular opening above Our Lord surrounded with angels in the sexfoils.

The color [sic] is too cold - and we object to the brown serpent-like stem running up behind. 

Pray oblige us with a slight pencil sketch in a post or two - we will return you the drawing sent, but we wish to keep it to compare with the new sketch. 

Do not care about a colored [sic] drawing time is more important and we hope to have the new sketch in a post or two at latest. 

Yours truly

Chas : Hansom & Son

Messrs Hardman Hardmans evidently "knocked off" the sketch as requested, but this only raised more questions. Several further letters followed on the choice of colours, the amount of light taken out by the building behind, the design of the angels above the main picture, and whether there should be a horse shown on the Road to Damascus. The vicar also had strong views.

6,Worcester Terrace,

Clifton

19 Nov. 1868

Gentlemen

I return the sketch & leave all the directions about the warmth of colouring to you - merely saying that I fear the effect of so large a patch of red. 

I am afraid that the first light will require some other treatment. The figure with both hands raised is not stripped, as we know the stoners were. He is too prominent and grotesque. 

S. Stephens cranium ought to be much more developed - as it is it shews want of intellect.  The face too is very faulty. 

Saul too is very deficient in brains; the leg as drawn does not indicate [much - deleted] any muscular power. 

There appears to be an attempt at tonsure both in S Stephen & in Saul which we should not like introduced. 

Saul was probably fully clothed. 

Yours faithfully

F.V. Mather

Messrs C.F. Hansom & Son

On 14^th December Hansom visited Hardmans to discuss both St. Paul's and Clifton College. The next day he sent off to them the patterns used by the makers of the original plain glass, to have the windows made up.

"If you do not find these patterns sufficient for the purpose

of properly setting out the window for your glass, you must send down a man from your establishment to take proper ones from the window."

All should now have been well. On 2^nd February 1869, Hansom passed on an enquiry from the vicar as to when they would get on with the work. Hardman's men evidently came down, only to discover that the window wasn't going to fit! Hansom wrote

St Nicholas Chambers

Bristol, Feb,. 23rd 1869

Gentlemen,

We are sorry that such a stupid mistake should have arisen about the size of the centre opening of [the] tracery in East Window, St Pauls', Clifton. 

The paper and templet you returned were sent to me by Messrs Gay who did the plain glazing at St Pauls Church. 

Seeing that the sketch you returned was utterly wrong in every way, we have employed Messrs Gay to take the size from the actual window by ladders, inside, and now send you the correct dimentions - These, we may add, correspond with our detail drawing, a copy of which you have - We return the templet, as this is correct; but the size of circle given formerly appears to be that of the Clerestory windows. 

At present the six outside pieces are fixed separately from the circle, each haveing a broad lead which comes behind the circular bar - thus - [drawing] stopped in, and the leads closed up when fixed.  [3rd page missing, not copied]

As a result installation didn't start until mid-April, as we gather from a letter of April 19^th ... and as your man is now in Clifton fixing the St Paul's Window, ...". But as is the way with so many modern builders, somehow it wasn't finished properly.

St Nicholas Chambers, Bristol

June 9th 1869

Gentlemen,                      

We forwarded your a/c for the St Paul's Window to the Revd. F.V. Mather, the Vicar, and we enclose his answer. We were not aware that the window had not been completed, and presumed that you had fixed the wanting bits of tracery before sending your a/c. Will you kindly get this done as soon as possible

We are, gentlemen,

Yours obedtly

Chas F Hansom & Son

Archts

Obviously the vicar had no intention of paying until the job was fixed!  Despite that, it took yet another letter from Hansom to actually make them do the work. Dealing with Hardmans was not an easy business.

2. The price is right

Compiled from the researches of Julian Small by Martin Laker

In Autumn 1869, Hansom turned his attention to the “South” aisle, that is the one on the Julian Chapel side of the nave, and the window above the Gallery at the “West end”. He wrote to his friend George Maycock at Hardmans, giving the initial commission:

        Clifton 18 Oct. 1869.

My dear George.

I now write about the West Window of St Pauls for which you sent us a design. 

The matter is now left to me and after carefully studying the two designs sent, yours and 'Wailes' I have little doubt as to which I shall decide upon. 

You know I came over to Birmn. on purpose to procure a new design for the upper window and thus to secure the window

for Hardman's. I mentioned to Mr John Hardman that I had done so, and that in the event of my getting the window for them I should expect my expenses of that journey (£3.3.0) to be paid by them - this I put before them as No 1. - No 2 is that another sketch be sent of one of the trefoils of upper window - the one with the angel bearing the scroll "Blessed are the Dead" - which is not like by any one. 

What we want is more of a demi figure. larger and bolder something of the size of the enclosed sketch - it must of course have the scroll, as before. 

The third is that the detail be more carefully studied a canopy like the sketch enclosed would be preferred to the one sent. 

Will you see Mr John Hardman, or whoever may be the person to be seen on this point, and write me a line to say that my three conditions will be complied with, when I think the matter will be settled - perhaps it may be more ???? if they were to write. 

And now for the side windows - a design to 1 1/2 inch scale - must be sent as soon as possible. The subject - The Raising of Jairus' Daughter, in two groups:

in No 1. Jairus beseching our Lord to come & see his

Daughter, and in No 2. Our Lord raising her from her

bed.  In No 1. Jairus must appear in his rich robes as

Governor of the City. 

We are to have three or four designs for these side             the windows windows, four of are already given,) so it will be advizeable for you to let us have a nice drawing.

Yours in gt haste

              Chas: Hansom

Love to Sophy & Children

G.B. Maycock Esq

‘Wailes’ was another firm of glass makers. On 29^th October, Hansom wrote

We like the sketch of the window amazingly, but as we have not received any of the other designs we cannot say anything further - our impression is that it will be selected; the grisaille is well worked in at the top. 

However, although the designs were well liked, the selection of Hardmans was by no means certain, as there was still the matter of the cost. In one of the most fascinating of letters from Hansom, we see him persuading both the donor of the windows and Hardmans to compromise on the price.

                Bristol: 2 Nov. 1869.

                     "St Paul's Clifton"

Gentlemen

The competition for the Aisle Windows, seven in number,) brought in from Drawings Estimates as follows.

    Hardman   each.   54.10. 0

    Bell        "     42. 0. 0

    Harris      "     40. 0. 0

    Wailes      "     38. 0. 0

All to be done in the best style with Copper wire guards fixing and every other expense. 

The Estimate we had given to the Vicar was plain £25.

medium £40 - rich £50., and it was thought that the one at £40. would be sufficiently good for the purpose. 

This sum having been fixed upon each donor had promised a window at that price, and hence a great difficulty arose on the score of Cost. - however I succeeded this morning, in getting the Vicar and one of the donors (a Lady who gives two windows) to accompany me to the College Chapel to see the windows you had done there, and also those done by Bell - and the result was that they were delighted with your work and disgusted with Bells. 

Before leaving the Chapel I was asked if I thought you would undertake to carry out the whole seven windows (four of which could be ordered at once) for £50 each in the same way as those in the College Chapel.  I unhesitatingly said I thought you would. 

The Lady said she would rather give £50 each for her two windows if she could be assured they would be carried out by the same artists than she would give £40 for anything inferior. 

Now it struck me that in consideration of one general        only, cartoon being required for the whole of the groundwork of the seven windows and that you would at £50. have a much better price than you had for the College windows, that you would not only consent to these terms, but be glad to do so - for you must bear in mind that St Pauls windows are under 30 feet while those at the College are over 50 ft. For the latter you had 30/- per foot - while St Pauls would be more than 33/- 

I think I have said enough to shew you that you ought to accept the offer of £50 per window without hesitation. 

We await your reply, which you had better Telegraph to us, and write more fully by post. 

As regards the size of the Windows we ought to mention that your drawing shews only 5’6” below springing line while all the others were 6 feet.- we have since measured the actual windows and find they are 6’6” or nearly so. by 18 1/2 inches - but still there is less than 30 feet of glass; we make it under 29 ft.

We received your drawing of one light of West Window as desired, but as a great mistake has been make in the length of the light from your original sketch we have no alternative but to return it to you - as the beautiful proportion we all admired in the original is utterly lost in this - your original drawing is 8 feet below springing while the one light you have just sent is only 6 feet 3 ins! How this mistake has occurred is a mystery to us - we will send you a rough tracing of your original drawing, and ask you to be good enough to retain the same proportions as to length &c. 

We are sorry to give you so much trouble about this, but it is unavoidable. 

Awaiting your reply and amended sketch

We are Dear Sirs

Yours truly

           C. Hansom & Son

Messrs Hardman & Co.

P.S  there must be a Casement in the upper trefoil or quatrefoil in each of the Aisle Windows. 

That week, Hansom moved offices to Chesterfield Buildings, a stone’s throw from St. Paul’s. The vicar wasted no time in paying him a visit, and it was agreed to commission four of the side aisle windows straight away.  Hansom sent off a brief order on November 5^th, along with a request for a supply date.

P.S. You omitted to answer a very important portion of our last letter! - viz. as to the time required for the execution of the West Window. We have now to ask you in addition how long you will require for the four Aisle Windows?  Please answer these queries and give us the shortest possible time

Along with cost, timescale for delivery was a recurring problem with Hardmans. By asking for the shortest possible time Hansom was exposing himself and Hardmans to some risk.

The next day, he wrote a more detailed letter, where we see for the first time, the plan for a unified series of windows. The subjects for all seven in the aisle were chosen, even though only four were to be commissioned for the present. The full sequence would depict the life of Jesus from birth to ascension. The comments on the raising of Jairus’s daughter obviously come from the vicar.

1 Chesterfield Buildings

Clifton  6 Nov. 69

"St. Pauls Clifton"

Dear Sirs

We now send you further particulars of the side windows

of St Pauls - those marked with a x are the four to be done

first and for which we wish to have sketches immediately. 

We shall mount the whole seven when we get them, in the mean time they will be separate. 

The arrangement will have to be changed on account of the inaccuracy of the first sketch as to length. 

As regards the sketch sent: Jairus' dress is objected to - as Ruler of the Synagogue he should [have] flowing robes, characteristic of the judicial function of his Office. There will be no Coats of Arms, an Angel to be substituted, and a Monogram, or Crest, or both at the bottom.

Jairus' daughter was "12. years old." at the time of the

miracle - the figure in the sketch is thought too young. 

A Memorial Inscription at the bottom, in addition to the Text or extract from Scripture at the foot of the lights - you will see that the Tracery varies - we have sent you the form of each to inch scale. 

Be good enough to let us have these sketches as soon as possible - Dear Sirs

               Yours truly

             C Hansom & Son

All the seven Windows to be drawn out - if desirable, the grisaille ground may be omitted in the other sketches - merely putting in the groups in their relative position and shewing the Angel in the upper trefoil or quatrefoil as the case may be. -  The drawings to be to the same scale as the first and the paper on which they are drawn cut to 18 x 9 so that they can all be mounted on canvas and folded as shewn by the enclosed numbered sketch. 

   St Pauls Church. Clifton.

        Side Windows

  No. 1 {Nativity.

        {Adoration. of the Magi

x No 2. {Presentation. and

        {Finding in the Temple.

  No. 3 {Blessing Children

        {Transfiguration.

x No 4. {Raising Jairus' Daughter

        {in two groups.

x No. 5 {Entry into Jerusalem

        {Last Supper.

  No. 6.{Agony in the Garden

        {Carrying the Cross

x No 7. {Resurrection

        {Ascension.

                   Chas:Hansom & Son

                       6 Novr. 1869.

Now that the vicar had the architect on hand, he kept up the pressure for action. On November 23^rd, Hansom writes to Hardman:

We have received a visit today from the Revd F.V. Mather

vicar of St Paul's Church, with reference to the proposed stained glass windows. Of course he is very anxious to know how soon you can let us have the windows… Be good enough to attend to these matters as soon as you can, as Mr Mather hinted putting the affair in other hands unless we can get the glass in a reasonable time. The west windows to be wanted first. 

3. The General gives his order

If you look on the pillar supporting the gallery by the coffee area, you’ll see that there is a brass plate bearing the inscription:

The three windows at the West end of the Nave are the gift of Major General Fitz-Gerald H.M. Indian Army in affectionate memory of his beloved wife, Anne Evered, who died at Clifton the 17^th August 1869 and was buried at Arnos Vale.

“I look for the resurrection of the dead and the life of the world to come”

“Them that sleep in Jesus will God bring with him”

I haven’t managed to find out anything else about General Fitzgerald, but as an army man, he was no doubt used to giving an order and it being done. We have seen already that Hardmans, the window manufacturers, had persistent problems in delivering their windows by the promised date and to the correct specification. Two years into the ordering process for St. Paul’s could things improve?

In January 1870 Charles Hansom, the church’s architect, sent Hardmans the full size patterns for the West and Aisle windows, along with the usual request for a date by which they could be done. Two months later, he writes again:  

1 Chesterfield Buildings

      Clifton.  March [7, deleted] 5th 1870

Gentlemen,

           "St Paul's, Clifton"

   The Revd F.V. Mather has requested us to remind you about

your promise to complete the West Windows for next Easter, &

to know also would be glad if you have been able to commence any of the Aisle Windows yet, & when you are likely to be able to send them. 

           We are Gentlemen

              Yours truly    

            C_has F. Hansom & Son Archts

Messrs Hardman & Co

Items is square brackets [] are editorial notes by Julian.

Four months later still, we find that although General Fitzgerald’s window had evidently been installed, things were not finished off…

        5, Arlington Villas

               Clifton  July 4th. 1870

     St Paul's, Clifton

Dear Sirs

         We have been requested by the Revd. Canon Mather to write to you relative to the side Windows which he hopes are by this time completed - please let us know how soon we may expect them? [Endorsement - "End of August"]

   The alterations agreed upon with Mr John Powell for West and [Endorsement - "Yes"] East Window, were carefully

noted down by him, and we hope he will have these prepared

and sent at the same time. 

   The Brass Inscription Plate ordered for General Fitzgerald

we have been expecting some time - as soon as this arrives

[Endorsement - "immediately"] we can send you the money for it and the West Windows so please send this off as quickly as possible. 

   We also want the gilt angle plates for St Pauls ordered of you at 20/- each as quoted in your lettter of the 11th ulto. 

   We have been expecting the Doorplate for ourselves we wrote you on this point and requested the initial letters to be red - the rest black. 

   Your reply, and early attention will oblige. 

              Dear Sirs

          Yours truly

          C.F.Hansom & Son

                  Archts.

Messrs Hardman

P.S. General Fitzgerald wishes to have the drawing of his Window.

John Powell was Hardman’s top designer. The answer to the General’s request was evidently “no”…

        Clifton  7 July 1870

Dear Sirs,

   If you cannot send the original Drawing, will you send General Fitzgerald a small copy "with the inscriptions." He particularly wishes to have a drawing of some kind that he can shew to his friends at his own House. 

   Your answer per return will oblige Dear Sirs,

                 yours truly

                C. Hansom.

Instead of obliging with the requested alterations and drawing, it appears Hardman’s sent their invoice:

        Clifton, August 3rd 1870.

Dear Sirs,                          

   We received the angle plates for St Paul's yesterday,

they will answer the purpose very well.  We sent yr account

for the West Windows to Genl FitzGerald, and he wrote back,

asking us to let him know when the proposed alteration had

been carried out, meaning we presume that he would pay then. 

Can you do this soon? 

            Yours obedty

              Chas F. Hansom & Son

                         Archts

One month later…

        Clifton  7 Sep 1870

              St Pauls

Dear Sirs

   You will recollect your promise to have the Aisle

Windows fixed during the month of August, now past. Canon

Mather has again called our attention to the matter and has expressed a wish that at least they may be in by the 29th Sepr the Anniversary of the Consecration & Opening. We therefore write to beg of you not to fail us for this day - or you will disappoint all parties connected with them. 

   Pray see to them being finished off without further delay and oblige.

           Dear Sirs,

              yrs truly C. Hansom & Son.

Messrs Hardman

   Be good enough to answer by return that we may quiet his fears.   C.H.

Hardmans evidently queries a few details, and on the 12^th September Hansom replied, ending his letter:

   You will now, we trust, be in a position to complete these four windows, and we fully rely on their being all fixed complete for the 29th. 

Things were now complicated by the ordering of another window for the aisle, (number six on the sketch reprinted in the last Magazine) showing the Garden of Gethsemene and Jesus carrying his cross.

        5 Arlington Villas

        Clifton 17 Octr 1970

St Pauls Clifton

The Window No.6. the sketch of which is sent by Book Post today is wanted to be put in by X'mas in memory of the eldest son of Canon Mather, who has recently been carried of by Fever. We hope you will accede to this proposition, and thus oblige Canon Mather, and those who have subscribed to the memorial.

You will see he objects to the scourge appearing don't know if he is right, but perhaps it would be better to change the scourge into a club, or to make him holding a spear.

Mr Mather wishes the sketch altered and sent back but as this will lose time, 1 think if you were to write back and say how you propose to alter it ‑ it will be sufficient.

Kindly send us a Bill for the four windows done, it may assist us in getting the money. We are dear Sirs

              Yours truly

              C. Hansom & Son

Messrs Hardman & Co

As we have seen, the vicar had very particular ideas about the design of & windows. The next day, he gave Hansom the following details:

St Pauls Church Clifton

              18 Oct 1870

No.6. Aisle Window                                       

Neither  scourge or Club to be introduced ‑ the Soldier to be

holding a spear.

Inscriptions under subjects

No.l. ‑ "Not my will but thine be done'..

No 2. ‑ "Take up the Cross and follow me,,.

Inscription at foot

Presented by the Congregation in memory of James Vaughan Mather died 1870 aged 12.

The window to be fixed by Xmas next.

Hansom, duly sent this on to Hardmans:

Clifton 19. Oct 1870

St Paul's, Clifton

1

Dear Sirs

We enclose remarks and Inscriptions for No 6 Aisle Window, which you have agreed to have put in by Christmas next.

Canon Mather is from home at present, but as soon as he returns we will try and send you the amt of you a/c.

The Windows just put in are really fine and are universally admired ‑there is however a desire to have the head of Our Lord changed in the Raising of Jairus' Daughter, it is certainly a blot upon what (with this exception) is considered a most perfect work. We are Dear Sirs

        Yours truly

      Chas:Hansom

        (Archts) & Son

Messrs Hardman

Meanwhile, the matter of General Fitzgerald's sketches and the alterations to his window had still not been resolved.

         Clifton. Novr.10th 1870.

Dear Sirs,

                       We send you today the sketches of Genl Fitzgerald's

windows at St Paul's Ch: Clifton, he has asked us to get them

coloured like the glass, and the texts put in as near as

possible as they are in the window. Will you be kind enough to do this, and send them back soon. The General has written to remind us about a piece of tracery wh. was to be altered.

           Yours obedtly

             Chas.F. Hansom & Son

Messrs Hardman.            Archts

P.S.  When J.Powell Esq was down here he proposed making a sketch, for improving the East Window. If you would send

a drawing shewing the scroll work over groups, entirely removed, and canopies or otherwise substituted (and the cost) it would very likely be done.  The window is not satisfactory at present.  Fresh wings were also to be sent for angels in tracery of same wd.

                       C.F.H. & Son

Despite Hansom’s best efforts to move things along, Hardmans’ consistent lateness was making tempers fray.

          5 Arlington Villas,

              Clifton  28 Nov. 1870

Dear Sir,

   We send you P.O. order for £2 for Brass angles you supplied to St Pauls - please return receipted Bill. 

   If you want the money for St Pauls Windows, £200 - the only way I see for you to get it quickly is to attend to the promises you made with reference to the changes in West and East windows - which you made a long time ago.  General Fitzgerald was assured by us, at the time he paid you for his window, that it should be attended to at once, and he is excessively annoyed about the delay and says he regrets having

paid for the window - do pray attend to these little matters - the neglect of which makes every body sore. 

   There is also to be another head of Our Lord in the group where he is raising the daughter of Jairus. 

   We shall hope to hear from you on these matters. 

       Yours very truly

         C. Hansom & Son

Messrs Hardman

Well, you really can’t go around making generals “excessively annoyed” can you? No doubt his actual comments were unrepeatable!

        Clifton.  Decr 10_th_ 1870

Dear Sirs,

   ...

   Also, we hope the window for St Paul's will be fixed by Xmas, and that at the same time you will send, fresh wings for angels in East Window ground of quatrefoils & new for West

ditto.

        Yours obedy

          Chas.F. Hansom & Son_

               Archts

Messrs Hardman & Co

1870  (14)  - written in pencil

Alteration of Trefoil in West Window - (Genl FitzGerald) promised by Mr John Powell -

     The Trefoil containing the Sacred Monogram is thus

   We want the other Trefoil containing the [Alpha Omega] to match it.  The colors of the ground are at present reversed - viz Blue centre & white letters, and the trefoil red ground. 

     You have the cartoons, and you will know best how the change is to be effected. 

Your man thought he could put in the grounds here. 

   If the centre is changed to a red ground will not the letters require to be yellow?

     ______________

     We also want a new head for our Lord in the subject

of "R_aising Jairus's Daught_er" the present one is condemned

by all - this you promised should be done. 

     The East Window alterations must be left till Mr Jno

Powell is able to attend to

it-        C.H. & Son

                   12 Decr 70

4. Completing the Set

Compiled from the researches of Julian Small by Martin Laker

After the flurry of activity in 1869 and 1870, the years 1871 and 1872 proved quieter on the windows front. Perhaps the fuss with General Fitzgerald, made the congregation to give any further major order to Hardmans. Certainly, the failure to guarantee an installation date stopped a commission in 1870 for the east end of the south aisle (where the Julian Chapel now is). Work was therefore confined to completing the set of windows in the south aisle depicting scenes from the life of Jesus. It’s clear from these letters that Hansom, the architect, was getting a “commission” from Hardmans that was taken out of the amount paid by the church to Hardmans. It’s referred to by Hansom as “Comn.”. One wonders whether the church knew about this?

        Clifton  30 Jany 1871       

      St Paul's Clifton

Dear Sirs

   Herewith we enclose cheque for £200 for the four Aisle Windows, first done - Kindly send us the Bill receipted, and yr cheque or P.O.O. for our Comn. We hope to send your cheque for the last window shortly, and also orders for the other two windows to complete the whole seven windows. 

     We are, Dear Sirs,

         Yours truly

        C: Hansom & Son

               Archts

Messrs Hardman & Co

     Clifton  21 March 1871

Dear Sirs

   We have pleasure in handing you a cheque value £50 for the last window you supplied to St Paul's Church Clifton. 

   Be good enough to make out your receipt to the Revd Robert B. Poole, and not to Canon Mather. 

   Your cheque or P.O. order at the same time for our Comn will oblige. 

          Yours truly

             C: Hansom & Son

                    Archts

Messrs Hardman & Co.

It was October before another window was commissioned. This is the one showing Jesus blessing the children and the Transfiguration. As ever, Canon Mather, the vicar, had strong views.

        Clifton  19 October 1871

    "St Pauls Clifton"

Dear Sirs

        I have much pleasure in asking you to put another Window in hand for the Aisle. viz "No. 3." but first of all I am requested to ask you to amend your sketch of the subject in the sinister light "Christ blessing little Children".

 Canon Mather wishes Our Lord to have a Child sitting on his knee, in addition to those around him. And some change in the other light so that Elias may be seen better than he is now. 

     I hope we are not asking too much in saying that it is the special wish of the donor to have this window fixed by Christmas. 

     Be good enough to let me have an amended sketch (a mere rough one) by return of post as I have unfortunately lost a day or two in writing to you. 

              Yours truly

             C. Hansom

Messrs Hardman.

From the next letter, it seems that Hardmans doubted that they could get the work done by Christmas: 

     Clifton.  21. Oct 1871.

         St. Pauls Clifton

Dear Sirs

      I return the sketch for No.3 Window, which is approved of.  You really must get it done for Christmas, as it is almost given conditionally that it is in by that time.

        I am Dear Sirs,

             Yours very truly

            C Hansom

Messrs Hardman

For once, Hardmans came up with the goods on time:

        Clifton  15 Decr. 1871

     St. Pauls Clifton

Dear Sirs,

         I beg to thank you for having completed No.III

Window, which I suppose will be fixed in good time for Xmas.

     I have now the pleasure to say that the last one is to be done as soon as you can do it, but first you must please send

me a sketch of the first light portraying the "Adoration of the Shepherds", the one you have shown on the sketch is the

Nativity - Canon Mather wishes less prominence to be given to the Ox & the Ass - this will no doubt be the case when you put in the Shepherds, you will have very little space for the Ox & the Ass. 

     Kindly let me have this sketch as early as convenient when I will send you an order for the Window. 

     I want you to oblige me by allowing one of your Artists to sketch a few groups for me in a drawing of a new Reredos I am about to put in the Church and as the drawing shews the East Window I should like the subjects of the Window also sketched slightly in.  The drawing I speak of is being prepared for a photograph and I shall be happy to send you one or two copies. 

     I hope soon to have the pleasure of ordering some larger windows for St. Pauls. 

     I am Dear Sirs

            yours truly

            C: Hansom

Messrs. Hardman & Co

I shall omit the rest of the correspondence about the reredos, as it was replaced in 1903 by the current one. There was now just one window left to complete the sequence.

           Clifton  Jany 16 1872

    St Pauls Clifton

Dear Sirs,

   I send by Book post your design for No. 1. Window, the last sketch is approved of and I am requested to ask you to put it in hand and to express a hope that it may be completed for Easter, as desired by the Donor. 

   I shall be glad to hear from you to say that it shall be done at that time - this one will complete the range of seven windows in the north [sic, mistake for south] aisle - and they particularly wish to have it completed by that time. 

     I am Dear Sirs

       Yours truly

      Chas : Hansom

Messrs Hardman & Co

ENCLOSURE

   St Pauls. Clifton

   No 1. Aisle Window

   To the Glory of God and in memory of Alice Mary Fox. died 12th April 1870.  Aged 36. 

     Chas Hansom

          16 Jany 1872

The next item we find in the archive is a postcard:

   5 Arlington Villas, Clifton

     20th March 1872

  St Paul’s Church Clifton

   The aisle window has been here for some days: please send some one to fix it.

            pp Chas F. Hansom

                    JNK

This seemed to do the trick. So it was time for payment and commission.

       Clifton  18th April

                      1872

Dear Sirs

   I enclose cheque for the last two windows supplied by you for St Paul's Church - deducting Comn.  

   Will you kindly send me two separate receipts for £50 each. 

       Yours truly

         C: Hansom

Messrs Hardman & Co

By now, faith in Hardmans seemed to be picking up, and donors were forthcoming for the windows at the two ends of the aisle. At the end of a letter about the windows for Clifton College Chapel dated 24^th October 1872, Hansom adds:

     St Pauls Clifton. I hope to send you shortly instructions for the two end windows of North Aisle each of 3 lights - I have an Estimate of yours dated April 1870 for £130 for the East one - the other has not been designed as yet. 

The window estimated at £130 was the one previously cancelled for a failure to guarantee an installation date. Could Hardmans do better this time around?