Charles Mitchell was a Victorian shipping magnate who used his immense wealth to become a major patron of the arts. In 1887, he commissioned the architect T.R. Spence to design St. George's Church in Jesmond, an affluent suburb of Newcastle Upon Tyne. Located on the northern edge of the city, St. George's was a very expensive church for a middle class congregation.
The church is in the Early English style of the thirteenth century, but has an Italian-style campanile based on that of St. Mark's, Venice. Mitchell had visited Italy, France and Germany during his youth, and according to D.F. McGuire, 'It would seem that the churches of Italy impressed him greatly with their frescoes and campaniles.' The high clerestory is pierced with Early English lancet windows.
Charles Mitchell
Mitchell was an art collector and this may be why he awarded the commission to Spence, who trained as an artist before entering the architectural profession. Spence was Secretary of the Newcastle Arts Association, which was used by industrialists as a venue for buying art-works. Mitchell had underwritten seven exhibitions at the Association, partly because his son was an exhibitor. Five painted panels which Spence executed for St. George's reveal the influence of the Pre-Raphaelite Brotherhood. The church also incorporated the work of local artists and craftsmen, including a pulpit by Ralph Hedley and altar and reredos in white pavanozza marble by Emley and Sons. The original organ utilised two hydraulic engines provided by Mitchell's business associate, Sir W.G. Armstrong.
A revealing detail appears in the entrance gates. Executed by Alfred Shirley to designs by Spence, these bear the exhortation, 'Do all to the Glory of God', suggesting that Mitchell saw the church as an act of religious devotion. He took a personal interest in its execution and demanded the highest standards of workmanship, proclaiming, 'I have learned that the House of Prayer and God's House should be exceedingly magnifical.' The rich interior features Art Nouveau metal work and glazed tiles with curvilinear patterns. Mosaic figures were designed by Mitchell's son and executed by Rust and Co. of Battersea. Christian symbols are embedded in the floor mosaics, which were reputedly laid by the servants of Mitchell's house, Jesmond Towers. Spence produced a bronze relief of St. George. The font was executed in Mexican onyx with columns of red jasper. The altar, reredos and marble steps of the sacrarium were displayed at the Newcastle Exhibition in 1887.
Statue of St. George and the Dragon.
The Nave and Chancel, with mosaic floor and Art Nouveau stencilling.
As with most of the buildings undertaken by Newcastle's elite, the church was a medium through which Mitchell could represent himself. The memorial tablets feature representations of Art, Energy, Truth, Charity and Science, defining Mitchell as an industrialist, inventor, aesthete and philanthropist. His status as a shipbuilder is signified by two angels standing aboard ships. One holds a model of St. George's Church; the other a model of the Graduation Hall at Aberdeen University, which was largely funded by Mitchell. The implication is that Mitchell, as a benevolent patron, has used the profits of his labour to the glory of God. However, the audience for this display was select. All seats were subject to pew rents except those in the south aisle; this expense would have largely precluded the working classes. Clearly, the building was intended for the affluent parishioners of Jesmond - Mitchell's family, his colleagues and neighbours. Mitchell retained a private space within the church: the Morning Chapel was set aside for the exclusive use of his family and was accessed through a private door. In all, Mitchell spent over £30,000 on the church and vicarage, but he made it clear that he had no intention of providing a church hall for parishioners. This was funded by public subscription, though Mitchell still had control over its final form, and this too was built to designs by Spence. Henry F. Swan and Armstrong were among the subscribers. Mitchell died on 22 August 1895, aged 75. He was buried in Benton Churchyard under an obelisk of Aberdeen granite.
As with most of the buildings undertaken by Newcastle's elite, the church was a medium through which Mitchell could represent himself. The memorial tablets feature representations of Art, Energy, Truth, Charity and Science, defining Mitchell as an industrialist, inventor, aesthete and philanthropist. His status as a shipbuilder is signified by two angels standing aboard ships. One holds a model of St. George's Church; the other a model of the Graduation Hall at Aberdeen University, which was largely funded by Mitchell. The implication is that Mitchell, as a benevolent patron, has used the profits of his labour to the glory of God. However, the audience for this display was select. All seats were subject to pew rents except those in the south aisle; this expense would have largely precluded the working classes. Clearly, the building was intended for the affluent parishioners of Jesmond - Mitchell's family, his colleagues and neighbours. Mitchell retained a private space within the church: the Morning Chapel was set aside for the exclusive use of his family and was accessed through a private door. In all, Mitchell spent over £30,000 on the church and vicarage, but he made it clear that he had no intention of providing a church hall for parishioners. This was funded by public subscription, though Mitchell still had control over its final form, and this too was built to designs by Spence. Henry F. Swan and Armstrong were among the subscribers. Mitchell died on 22 August 1895, aged 75. He was buried in Benton Churchyard under an obelisk of Aberdeen granite.
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