The floor is composed by encaustic tiles, manufactured by Messers MINTON, HOLLINS and Co, Stoke-upon-Trent and is the largest pavement of the kind in existence. The design is very elaborate, but has been very successfully carried out, although it presented great difficulties of a technical character. It is difficult to give a correct idea of the design by comparison with any other, ancient or modern, and although there are many fine examples of tile paving in the churches and palaces on the continent, and in some of our own cathedrals and conventual's churches etc, they cannot be quoted for the purpose of conveying a true idea of the pavement in St George's Hall, whether as regards its size, the arrangement of the design, or, especially, as regards its colouring.
The antique practise of tile making, as appears from the existing remains of ancient works, confined the manufacturer to the use of few colours or tints. The method commonly used seems to have been this :- A piece of well tampered clay having been prepared, of a proper size [usually about six inches square and one inch in thickness], a die, having some ornament in relievo was pressed upon it, the indented pattern thus produced was then filled in with clay of some other colour, generally white, the tile was then covered with a metallic glaze, which imparted to the ground [usually red] a deeper and richer colour, and gave the white ornament a yellowish hue. These tiles were often arranged in sets of 4, 16, or more, and sometimes intersected with bands of plain tiles, of a self colour, such as black, red, and white, and frequently displayed great geometrical skill and beauty of effect. Good examples may be seen in the churches of St Denis and St Omer, in France, and specimens from the abbeys of Juvaulx, Westminster, and other buildings in England. The modern process of encaustic tile making, as adopted by Messers MINTON, HOLLINS and Co, enables them to produce not only a far greater variety and brilliancy of colour in the general effect of a pavement, but admits of several colours being placed upon a single tile, thus producing a soft effect of fine mosaic work, in a much more durable and less expensive material.
The extreme length of the floor in St George's Hall is about 140ft, and the breadth 72ft, and contains upwards of 30,000 tiles. The general form of the design may be described as consisting of three large circles, the largest being in the centre, and two smaller ones, one on either side of the great circle, towards the end of the hall. These two smaller circles are each surrounded by four still smaller, the form being then terminated at each end by a semicircle, of a radius equal to that of the great circle in the middle of the design.
In the centre of the pavement are introduced the royal arms, in proper colours, on a deep blue ground, 5ft in diameter, surrounded by a wreath of laurel, and mounted on a star of 16 points, the spaces between the points being filled up with rich ornament and the caduceus of Mercury, thus forming an elaborate centre piece, of 15ft in diameter. This is enclosed by a narrow border of stone, and then follow rich bands of classical ornament, and a frieze of "life-bearing ornament," composed of tritons, sea-nymphs, dolphins, genii, tridents, and other attributes of Neptune, displaying the great merit in design and successful execution. This is again bordered by richly ornamented bands to the outside of the great circle, making a diameter of about 42ft.
In the centre of the two smaller circles are the arms of the corporation of Liverpool, also in proper colours on a blue ground, 3ft in diameter, and surrounded in like manner to the great central compartment by consecutive rings and bands of ornament.
In the other small circles are introduced the Star of St George, the Rose, Thistle and Shamrock, with suitable borders which intersect at the junction of the circles with each other after the manner of the Roman guilloche, or chain ornament, thus bringing the whole together into one grand form.
The semicircles at the ends are treated in the same style of ornamentations as the great central circle, and are incorporated, by the interlacing bands, with central forms of the design.
The rest of the floor is filled in with a rich diaper work, divided into panels of various sizes by diagonal bands of plain chocolate coloured tiles, having an ornamental tile at each intersection. In each of the largest of these divisions are placed alternately, the Rose, Thistle and Shamrock. The floor to the extent of about 7ft from the walls is raised about 18inches from the central part, forming a sort of platform or pathway all around the hall. This is also laid with tiles of a similar character to the other parts of the pavement, and opposite each of the side doors is a circular compartment of rich colour, having in the centre a dolphin in proper colours, on a deep-blue ground, with wave scroll ornament etc. The spaces between them are filled with diaper work, with appropriate borders. The space immediately under the organ gallery is laid with a beautiful panel of about 20ft diameter, having in the centre the crest of H.R.H the Prince of Wales, with a laurel wreath, and surrounded by bands of richly decorated tiles.
In the border which surrounds the diaper work on the platform, and opposite each of the polished granite columns, are inserted inscriptions and mottos in Latin and English, relative to those virtues, sciences and arts, typified by the figures in the spandrels of the arches above the lateral arches of the hall. At each end of the hall, also, inscriptions are introduced. Those near the organ relate to music, and those at the opposite end leading to the entrance to the court, a relative to justice and government.
On entering the hall at the south entrance, and descending the steps, we read on the right hand, "A king shall rule in righteousness, and princes shall rule in judgement." and "Libertatis honos et sceptra jura decori."
Proceeding onwards opposite the figure of Prudence we read, "Nullum numen abest si sit Prudentia." " I wisdom dwell with Prudence."
Next opposite the figure of Fortitude is placed, "Tu ne cedi malis sed contra audentior ito." "In the Lord I have righteousness and strength."
Then underneath the figure of Science we have, "Felix qui potuit rerum cognoscere causas." "The fear of the Lord is the beginning of knowledge."
Next comes Art, beneath which is transcribed, "Ars operum inventrix naturae que aemula prolls." "He hath given me skill that he might be honoured."
The Justice opposite which we have, "Discit justitiam moniti et non temere divos." "By me kings reign and princes decree justice."
Next Temperance, when we have, "Ne quid nimis." and we are admonished to, "Add to knowledge temperance."
Then proceeding towards the organ gallery we read, "Praise him with string instruments and organs," and " Fortia facta monet curarum et dulci levamen."
The mottos on the other side of the hall being the same but in reversed order according to the figures above them, and at each corner of the floor appears the motto of the corporation, "Dous nobis haec otia fecit."
It is said that the cost of the floor is 2000 pounds, but the precise amount is uncertain. It is, however, asserted on good authority that the sum, whatever it is, is considerably below the cost to the manufacturers, and that it is mainly attributed to the liberality of Mr MINTON, who, in a worthy spirit, on undertaking the work, determined to spare no amount of labour and expense to render the pavement as perfect as possible, and in every respect worthy of the noble hall of which it forms an important decoration. It should also be mentioned that it is principally owing to the untiring energy and talent of Mr MINTON that the public is indebted for the revival of this interesting branch of medieval art manufactures, and for the great perfection to which it has been developed.
Over each door is a square light, constructed in the same manner as the doors, but the foliage is different. In the centre is the Liver, the crest of the town of Liverpool, running round which is a bold wreath of oak leaves, and from the wreaths on each side springs a bold scroll, terminated with a honeysuckle. Each pair of doors, including the frame, weighs 43 cwt.
The screen at the south end of the hall, and dividing it from the crown court, is of similar design and construction. It is 21ft long and 12ft high, and weighs 74 cwt. This screen has one pair of folding and two single doors, on the same principle as those on the sides of the hall.
The total cost of these doors is about 6000 pounds. They were made by Mr POTTER of South Molten St, London, from the design and under the superintendence of Mr COCKERELL.
There is a smaller screen in brass to be fixed under the organ gallery, 10ft wide and 8ft high, in four compartments of the same construction.
At the south entrance of the building will be a large and massive pair of bronze doors, 21ft high and 11ft wide, they are of rich design, and weigh about 7tons. Each leaf weighs in itself about 2 and a half tons, and works very freely, but as the labour of opening and shutting these doors frequently would be very great, there will be a wicket on one of them. These are the largest metal doors in England.
The outer row upholds a large corona, and the upper row a small corona beneath, from which again depends an elegantly shaped basket, terminating at the bottom in a richly decorated pendant and knob, or globe. On the upper rim of the canopy is placed alternately a five pointed star and Liver. Each point of the star emits a brilliant jet of gas. Beneath the birds and stars is a border formed of the acanthus placed alternately with rams heads, and beneath these runs a border of the echinus. To the inner portion of the latter are attached the chains which support the rings or coronae below. The larger corona, fixed in the middle of the pendant, is decorated with the prows of ancient galleys, each armed with a projecting spike issuing from a boar's mouth, an alternating with boldly carved masks, the execution of which is very good. Above each prow rises a large star, five-pointed like those on the canopy, and also emitting a jet of flame from each point. On the lower and smaller corona Liver re-appears and the masks and stars are again introduced. The basket [the sides of which are perforated with Greek anthemion] recedes in graceful lines, till at the lowest part it narrows into a stem clasped by acanthus leaves, below which are a series of tasteful mouldings, ending in the final globe. There are ten pendants and each bears 140 lights. The design is at once appropriate novel. It does not, as too often is the case, block out all beyond, but, on the contrary, will serve to heighten the effect of the architectural ornamentation, with which it will be placed in juxtaposition, inasmuch as, from its peculiar character, every detail may be seen through the interstices of the pendant. The delicately pale bronze and the rich gilding which alternate, have a very fine effect. The rapidity of the production of these pendants is very remarkable, three months have not elapsed since the order of these, and a multitude of smaller chandeliers, brackets, etc was given.
The workmanship of the pendants is admirably finished, and reflects great credit on the manufacturers, Messers MESSINGER and Son of Birmingham. The illuminating effect is very brilliant, the great height at which the lights are fixed protecting the audience from all offensive glare, and securing that agreeably soft light which has been so admired at the Philharmonic Hall.
Copyright 2002 - To date