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“It Was the Heart of the Town”: Two Public Monuments, Cultural Memory and Oral Histories in Walkden and Hastings

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“It Was the Heart of the Town”: Two Public Monuments, Cultural Memory and Oral Histories in Walkden and Hastings “It was the heart of the town”: two public monuments, cultural memory and oral histories in Walkden and Hastings Anthony McIntosh PhD January 2014 The University of Brighton Abstract The importance of the historic built environment to local communities and its ability to foster a sense of place is an issue at the heart of current heritage impact research. This thesis is primarily concerned with how public monuments, as a focus for the localisation of memories and narratives, can contribute to the development of social capital, sense of place, and a sense of community identity. As case studies, the thesis uses two large public monuments significant to the cultural heritage and development of two towns: the Countess of Ellesmere Memorial, Walkden, Greater Manchester, and the Prince Albert Memorial Clock Tower, Hastings, East Sussex. The two monuments were erected on particular sites significant to the history of the towns, sites chosen for their resonance with the development and growth of the local communities. The location of both monuments has been the cause of much controversy and public debate for over a century and their position as objects of local heritage is perhaps as important now as when they were unveiled. As its primary source of data the research study uses oral history interviews in order to analyse how the two monuments are remembered and experienced through accounts of public ceremonials, festivities, and rituals, through specific social norms that have originated in local culture and tradition, and, through the routine activities of everyday life. The analysis of the oral history interviews demonstrates how, through the shaping of kinship and personal narratives, these two public monuments provided a spatial and temporal location for the development of public memory and an associated development of social capital and sense of place. The commonalities within the narratives evidence both how public monuments can situate people through memory and association within their local community, and, how communities can be impacted by their destruction or relocation. In demonstrating how the two monuments functioned, and still function, in the public and private lives of the interviewees, the research findings contribute empirical evidence to debates around rhetoric, memory, place attachment, and demonstrate important but often neglected considerations for heritage management and policy making. ii Contents Page List of illustrations v Acknowledgements xii Author’s declaration xiv Introduction 1 Chapter one 41 The Countess of Ellesmere Memorial, Walkden Chapter two 95 The Prince Albert Memorial Clock Tower, Hastings Chapter three 135 The physical: mapping and navigating the landscape Chapter four 179 The social: meetings facilitated by events Chapter five 228 The emotive: imagined communities Conclusions 269 Bibliography 286 iii Page Appendix 1: 331 Relationship chart for the 1st Earl and Countess of Ellesmere Relationship chart for Prince Consort Albert of the United Kingdom of Great Britain and Ireland Appendix 2: 334 Comparative timelines of the Countess of Ellesmere Memorial and the Prince Albert Memorial Clock Tower Appendix 3: 348 Brief biographical notes on the interviewees and synopses of the oral history interviews iv List of illustrations Page Illustration 1: A photograph taken in the 1950s showing the Countess of 7 Ellesmere Memorial sited at the major crossroads of Walkden town centre. © Salford Local History Library Illustration 2: A photograph taken in the 1920s showing the Prince Albert 7 Memorial Clock Tower sited at the major crossroads of Hastings town centre. © Geoff Woolf, 1066 Online Illustration 3: A photograph taken in June 1968 showing the dismantling of the 8 Countess of Ellesmere Memorial. © Salford Local History Library Illustration 4: A photograph taken in November 1973 showing the demolition 8 of the Prince Albert Memorial Clock Tower. © Hastings Reference Library Illustration 5: A line engraving of Francis Egerton, 3rd Duke of Bridgewater 47 depicted as ‘The Canal Duke’. Published 1766. © National Portrait Gallery Illustration 6: A stipple engraving of Francis Egerton, 3rd Duke of Bridgewater 48 by James Heath. Published after his death in 1803. © National Portrait Gallery Illustration 7: A photograph showing the monument to the 3rd Duke of 48 Bridgewater on The Green, Worsley, shortly after its erection in 1905. © Salford Local History Library Illustration 8: A pencil drawing of Francis Egerton (Francis Leveson-Gower) by 52 George Richmond R.A. © Salford Museum and Art Gallery Illustration 9: A print by Thomas Lewis Atkinson showing Harriet, 53 Countess of Ellesmere. Mixed method on chine collé, circa 1850. 54.4cm x 47.6cm. © British Museum Illustration 10: The cover of the sheet music for The Ellesmere Polka featuring 56 a lithographic print of Worsley New Hall by M&N Hanhart. The music was composed by Heinrich Blümer especially for the visit of Queen Victoria to the New Hall in 1851. © Salford University Illustration 11: Three pictorial postcards showing various elevations of Worsley 57 New Hall. Illustration 12: The design for the Ellesmere Memorial, Worsley, by Messrs. 70 Driver and Webber as it appeared in The Builder, 6 November 1858. v Page Illustration 13: An example of a pictorial postcard featuring the Memorial to the 71 1st Earl of Ellesmere in Worsley. Whittaker & Co., Manchester. Postal date of 1907. Illustration 14: A photograph of the tomb of the 1st Earl of Ellesmere designed 72 by George Gilbert Scott with a marble statue by Matthew Noble. St. Mark’s Church, Worsley. © Author Illustration 15: The design for the Countess of Ellesmere Memorial by Thomas 76 Graham Jackson, as it appeared in The Builder of 11 July 1868. Illustration 16: A print from the Illustrated London News depicting the Ellesmere 81 Royal Barge, carrying Queen Victoria and Prince Albert, arriving at Worsley New Hall during the royal visit to Lancashire in October 1851. Illustration 17: A photograph, c1890, of the Ellesmere Royal Barge in use on 81 the Bridgewater Canal; it was built for Queen Victoria’s visit to the New Hall in 1851. © Salford Museum and Art Gallery Illustration 18: A photograph taken on 16 July 2011 showing a re-enactment of 82 the arrival of Queen Victoria and Prince Albert at Worsley New Hall in October 1851. The regatta was staged as part of the 250 year anniversary celebrations of the Bridgewater Canal. © Visit Salford Illustration 19: A photograph taken in June 1968 showing the four allegorical 91 statues removed from the Countess of Ellesmere Memorial during its dismantling; from right, Munificence (depicted holding a model of St. Mark’s Church), Prudence, Piety and Charity © Salford Local History Library Illustration 20: An aerial view of the centre of Walkden. The present location of 92 the Countess of Ellesmere Memorial is indicated with a red circle. Google Map Data: © Digital Globe, Infoterra Ltd. & Bluesky, The Geoinformation Group Illustration 21: ‘Design for the Prince Consort National Memorial’, 1863, by 111 George Gilbert Scott. Watercolour and gouache, 35.9cm x 46cm © Victoria and Albert Museum Illustration 22: A model of George Gilbert Scott’s design for the Prince Consort 111 National Memorial by Farmer and Brindley, 1863. Plaster, coloured, gilded and polished on a metal armature. 203.2cm x 71.2cm x 71.2 cm © Victoria and Albert Museum Illustration 23: An 1863 print by Hastings lithographer, Charles Stevens, of the 115 Prince Albert Memorial Clock Tower, designed by Edward Arthur Heffer © RIBA Library Drawings Collection Illustration 24: A photograph of the Prince Albert Memorial Clock Tower taken 116 from Robertson Street, Hastings, c1865 © Hastings Reference Library vi Page Illustration 25: ‘The Last Moments of HRH the Prince Consort’, 1861, by 120 Oakley, under the pseudonym, Le Port. Oil on canvas, 123cm x 183cm. © The Wellcome Collection Illustration 26: An advertisement produced by the Art Union in 1869 offering for 121 sale two lithographs depicting Prince Albert’s marriage and his deathbed scene. © National Portrait Gallery Illustration 27: A stipple and line engraving of Prince Albert by Edward Henry 123 Corbould; after a photograph by Frances Sally Day. Published 1 July 1862 © National Portrait Gallery Illustration 28: A memorial carte de visite of Prince Albert. Albumen print after 123 Camille Silvy, early 1860s. © National Portrait Gallery Illustration 29: A still from the 1946 Pathé News film, ‘Britain’s First Double 126 Decker Dream Town’, showing Sidney Little at centre with his model for the proposed town centre development. ©British Pathé Illustration 30: A still from the 1946 Pathé News film, ‘Britain’s First Double 126 Decker Dream Town’, showing in detail the model of the Prince Albert Memorial Clock Tower as centrepiece of the proposed town centre development. ©British Pathé Illustration 31: A photograph of Sidney Little’s large scale model of his 126 proposals for the redevelopment of Hastings town centre, as seen in the 1946 Pathé News film, ‘Britain’s First Double Decker Dream Town’. © Geoff Woolf, 1066 Online Illustration 32: A voting form on the future of the Prince Albert Memorial Clock 127 Tower from the front page of the Hastings & St. Leonard’s Observer, Saturday 2 August 1952 © Johnston Press plc Illustration 33: A photograph taken in 2012 of the statue of Prince Albert by 131 Edwin Stirling. The statue was removed from the Prince Albert Memorial Clock Tower during demolition. © Author Illustration 34 A photograph showing the Countess of Ellesmere Memorial just 139 after its erection in 1869. © Salford Local History Library Illustration 35: A photograph of the Prince Albert Memorial Clock Tower taken 139 in 1864 shortly before the installation of the clock mechanism. © Brian Lawes, Hastings Local History Group Illustration 36: ‘Town with a hole in the heart’. A poem by Margaret E Rose as it 157 appeared in Towards Hastings 2000, published by Hastings Trust in 1992 © Hastings Trust vii Page Illustration 37: ‘It’s a Memorial to the Memorial’.
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