Ipswich Museum is a cultural gem which stands just
outside the town centre on High Street. At its heart is the original
set of natural history glass cabinets dating back to the original
Victorian and Edwardian collection which was moved to the new building
when the original was outgrown. Pride of place goes to a full-size
giraffe and the famous rhinoceros. Many other aspects of life and
history are exhibited including geology, an easily-digested story of
Ipswich dating back to pre-history (on the mezzanine floor),
ethnography from Inuit hunter to Japanese warrior, Ancient Egypt, Roman
and Anglo-Saxon times (including the Sutton Hoo burial ship and early
Ipswich), the struggle for slavery abolition and Ipswich during the 2nd
World War. In July 2012 the building exterior
had been cleaned and looked splendid and visitors across a wide
age-range wandered around the exhibits, exclaiming and discussing the
interesting and sometimes strange contents. The curators and staff
clearly work very hard on, presumably, scant funding to present
excellent displays and information to the visitor and it is certainly
true that the whole interior is looking better cared-for and welcoming
than it did about twenty or even thirty years ago. Click here for a look at some of the
lettering examples in their collections.
The town's
municipal Museum started life in 1854 on the
'kink' in Museum
Street opposite the Museum Street
Methodist Church; the original building stood empty for
so long in recent years, but is now
Arlington's Restaurant. It was one
of
the first such museums in the country and clearly wanted to promote the
twin
Victorian achievements of art and science. The Grade II Listing reads:
'The old Museum, opened in 1847 was designed by Christopher Fleury, a
local architect. It is a large red brick building with a stucco (hard
plaster) front
in classical style with panelled parapet, a plain band (which now
replaces the original cornice) and massive Tuscan orders on octagonal
base rising through 2 storeys at the corners. 2 storeys. 3 window
range, double-hung sashes with glazing bars. The centre part, of
doorway and one window range above, breaks forward slightly. The side
windows have moulded and shouldered architraves with
balustraded panels beneath the sills. The centre window has a Venetian
style surround with a semi-circular domed arch with shell ornamentation
and flanking paired Ionic columns with frieze and cornice. The doorway
has fluted Doric pilasters, frieze and cornice, and is flanked by C20
shop fronts. The front originally has a projecting Doric columned
porch. The north side is in panelled red brick, without windows. In the
interior a heavy balustraded staircase leads to a 1st floor hall which
is top lit with a gallery (blocked).
Nos 1 to 11 (odd) and No 13 (Old Museum Rooms) form a group with No 10,
Nos 14 to 32 (even) and Nos 14 and 16, Arcade Street.'
2015 images
The massive 'preposterous' Tuscan columns
flanking the frontage certainly are striking.
This Museum later outgrew its building and had a purpose-built
structure, sited
on a plot which was being reserved by the Borough for a proposed
church. The
architecture is described as in the 'Queen Anne-style' and was designed
by Londoner Horace Cheston, who won an architectural competition.
See our Museum Street
page for 1778 and 1902 comparative maps including this location.
High Sreet / Bretheren Meeting Hall Courtesy Ipswich Society
72 High Street is the interesting-looking building* on the corner of
Claude Street and, above an arched window, it bears the cast iron
street sign:
'HIGH ST.'
attached to the Suffolk whites by
only three of the angled supports often used for such heavy signs.
[*Bettley: Suffolk East Pevsner
(see Reading List) tells us that this was
built as The Jerusalem
Church (Swedenborgian) in 1847. The monochrome photograph above was
taken by Tom Godris in the 1990s, captioned 'Bretheren Meeting Hall',
the religious hall had clearly been sold at the time; the door to the
right has been blocked up and the building is now residential and
heavily overgrown with vegetation. The photograph can be found on the
Ipswich Society's Image Archive (see Links).]
Claude Street 2018 images
The side wall of the former Brethren Meeting Hall bears a street
nameplate: 'CLAUDE STREET' which takes us back to a time when the
'Charles Street Car Park' area was residential. Claude
Street was the tiny east-west road running
(oddly) parallel with Charles Street linking High Street and the
northern part of Fitzroy Street – it still qualifies to bear a street
nameplate. In fact, the road pattern and naming has changed radically
here:
Claude Street now runs behind the Crown House office block and
northwards behind the gardens of houses on High Street, then follows
its original course to High Street; Fitzroy Street is now a small
north-south road making up the quadrilateral with Charles Street. See
our Street name derivations page for
the source of 'Claude'. 1902 map
See our Charles Street page
for much more on this lost residential development between Charles
Street and Crown Street.
Fonnereau Road 2019 images
At the top of High Street is the junction with Fonnereau Road, named
after one of the wealthy families who owned Christchurch Mansion (see Street name derivations). This example of
a cast street nameplate with curved, raised border sits under the
capstones of the garden wall of number 65. Instead of the usual
angled supports around the edge, two holes have been drilled through
the centres of the letters 'O' with lage bolts fixing the sign; this is
presumably because of the tight fit beneath the overhang. The
characteristic stylish 'pierced' brickwork in Suffolk whites is seen on
the front of a number of large houses in the area; see our Street furniture page for another
example in Suffolk reds on the corner of Henley Road and St Edmunds
Road, under 'Water valve markers'.
Ipswich Museum
2012 images
The terra cotta frontage of
the
'new' Ipswich Museum built by J.B. and F. Bennett of Ipswich displays a
feast of swags, dragons, floral and fossil mouldings, pillasters and
framed
sections
packed with motifs of the scientist and artist. The Public Sculpture of
Norfolk & Suffolk database (see Links)
tells us that the terra cotta reliefs are by the building's architect,
Horace Cheston:-
"Architectural ornamentation on the main facade of Ipswich Museum under
Dutch gable ends. The reliefs on the gables either side of the centre
combine portraits of the scientist Isaac Newton and artist William
Hogarth with organic decoration and lower horizontal panels showing
chinese dragons. In the centre is the date 1880 above which are two
panels showing flowering plants. To the left and right of the date
panel are images of single fossils underneath which (either side of a
first story window) are vertical panels showing still-life arrangements
- the instruments of the arts to the north, sciences to the south. The
panels are complimented by a row of terracotta festoons which stretch
across the building at first storey floor level above the museum
entrance. The fossil and plant images represent items in the
collections and the
natural world, while the portraits on the wings demonstrate the
organisation of the museum into the Schools of Science and Art further
represented in the still-life panels. The Chinese dragons reflect the
orientalism underpinning 19th century collecting practices."
Portraits of William Hogarth (left) and Isaac
Newton (right) peer oddly from bowl-shaped roundels on the gables;
compare with the three portrait heads on the Town
Hall. It is perhaps a little surprising that the architect didn't
choose two
people with more local links (but just as eminent in their fields,
perhaps): John Constable, Thomas Gainsborough on the arts side and John
Stevens Henslow (geologist, Darwin's mentor and second President of the
Ipswich Museum) or Charles Darwin himself on the science side. Perhaps
Darwin would have been considered too controversial... We recently
heard an Amish man interviewed on television saying that it was more
difficult evangelising the word of the Lord to the British, as opposed
to Americans, as they had been "taught Darwin" for longer; Darwin, we
were told was already burning in Hell.
The sooty pollution and uneven weathering of old has been resolved by a
good clean since we last photographed this building. The bright
orange-red of the terra cotta in particular makes
noticeable the date at the top of the facade:
'1880'
The High Street Museum
opened officially on the red letter (hah!) day of 27 July 1881, the day
on
which the new southern lock into the Wet Dock – close to the
brewery – and the decorative Post Office on Cornhill
were also opened. Perhaps they
thought it
unnecessary
to actually name the building 'in stone' as every local would know that
it was a temple of learning and artistic endeavour.
Incidentally, for an intriguing historical
footnote about Ipswich being put
beyond the pale by Queen Victoria and its bearing on Prince Albert's
attendance at the Annual Meeting of the British Association for the
Advancement of Science at Ipswich Museum, see the
text from the 'Kindred Spirits'
website on our page dealing with the Suffolk
Victoria Nursing Institute in Lower Brook Street. The book A rhino in the High Street (see Reading List) describes Prince Albert's visit to
Ipswich. "Always promoting the welfare of
Ipswich Museum, Hon. Secretary Mr George Ransome [1811-1876, grandson
of Robert Ransome. the founder of the famous firm] visited Buckingham
Palace in February 1851. Soon afterwards His Royal Highness Prince
Albert signified his pleasure by becoming a Patron [of the Museum]. The
same year the
Prince visited the Museum on Friday 4th July, during the Ipswich
meeting
of the British Association for the Advancement of Science ... Professor
Henslow*, President of the Museum [and Darwin's mentor] read an address
to the Prince... Admission to the proceedings was by ticket
only, only one per member. This would have excluded spouses, but the
ladies were determined; some became members themselves, whilst others
persuaded husbands fathers and brothers to transfer their tickets to
them. After inspecting the contents of the cases, the royal visitor had
lunch in the Museum library. The Museum must have made a deep
impression on Prince Albert, for Queen Victoria stated that for several
days after his return he talked of scarcely anything else."
*Reverend Professor John Stevens Henslow is commemorated by 'Henslow Terrace, 1868' at the nearby
number 1 Henley Road.
The distant views of the Museum (along with the weather-vane,
previously unseen) over the Claude Street rooftops. The sun strikes the
heads of Hogarth and Newton.
Ipswich Victoria Free Library
Between 1887 and 1924, the Borough of Ipswich Victoria Free Library
('Free' to indicate the borrowers' free access to the books, rather
than having to request them at a counter) was situated in the museum in
High Street. It moved to Central Library:
the new Carnegie building in Northgate Street (now known as Ipswich
County Library) in 1924. This left wing of the building was used from the
museum's opening as the Victoria Free Library. See our Rosehill Library case study page for
more on the history of the library service in Ipswich (and Suffolk).
The relief portrait of Queen Victoria, also by Horace Cheston, on the
lintel is unmistakable,
if a little unflattering. After the public library moved, this part of
the museum building was the cast hall, displaying plaster casts of
classical statuary and architectural details which were mainly intended
as study subjects for art students – a smaller scale version of
the Cast Hall in the Victoria & Albert Museum in London. In those
days an artist learnt draughtsmanship (remember that?) by drawing a
model many times. The plaster casts did not move about, or require
payment as a human model would. The statue of Mercury at the foot of
the staircase in Christchurch Mansion
is a plaster cast from this
collection and another features in the High Street Art Gallery nearby.
It was only in 2016 that we noticed two additional
pieces of terra cotta lettering above the windows at either side of the
front door of Ipswich Museum:
'ART
... SCIENCE'
each suitably decorated and part of a triptych. 2016 images The accretion of dust on these deep reliefs tends to highlight
the detail.
'ART.' in a central cartouche replete with full stop (perhaps
because it's a shorter word) appears to be supended from the
floral cornucopias above. 'Art' takes it decorative motifs from the
sea: dolphins above interlace their tails around a Neptune's trident –
the tines of the trident breaking the upper frame;
beneath, the supporters are mermen. 'SCIENCE' on the other hand is
supported by seated, roaring lions and amongst the floral swirls above
are, threaded on a line, circular discs similar to the jangly bells on
a tambourine. The 'handle' at the left of the 'Science' cartouche seems
to have been repaired in another colour.
Scroll down for more 'Science & Art Schools' lettering.
The Museum extension
This is the view of the museum from St Georges Street showing an
extension built in the year showing on the decorative gables:
'AD
1900'
The Salem
Chapel can be seen to the right. Further down the street is The Globe public house.
In 2013, a project is proceeding to try to amalgamate the Ipswich
Museum, High Street Gallery (now no longer a gallery for art, sadly),
High Street Art School and Wolsey Studio (Salem Chapel) into a 'Cutural
Quarter' with connecting access for the public.
Ipswich Schools of Art &
Science
The right-hand wing, which stands well back from the
High Street, bears
this grand scrolled cartouche in the centre:
'SCIENCE & ART
SCHOOLS'
in an idiosyncratic florid script. Again,
the
weathering adds colour and interest. These three studio rooms were
built
in 1890 as an addition to the museum for the exploration of art and
science
utilising the resources next door. When Felix Thornley Cobbold
(probably the only Liberal politician to emerge from that wealthy
brewing family) gifted Christchurch Mansion
to the Borough in 1895, the house
– now emptied of its contents – was used as a School of
Arts and Sciences, the forerunner of this building and eventually of
Suffolk College, now renamed 'Suffolk New College' since the arrival of
University College Suffolk on the Waterfront.
From White's Directory of
Ipswich 1874: "The IPSWICH SCHOOL OF ART is carried on by a
local committee, of which the Rev. C.H. Gaye [see Street name derivations for Gaye Street]
is the chairman;Mr. W.T. Griffiths is the master. The course of
instruction includes geometrical and mechanical drawing, and young
working men and the children of the artisan classes are taught on very
liberal terms. A SCHOOL OF SCIENCE in connection with South Kensington
is also carried on. Dr. Drummond, Mr. J.E. Taylor and Mr. W. Vick are
the masters. The Schools of Science and Art are united with the
Museum." Note that this was published when the museum was at the Fleury
building in Museum Street, six years before the present High Street
building was opened.
Reading the words 'Art' and 'Schools' brings up
another
long neglected building
which adjoins this one. The former Ipswich School of Art and Design
next door
was
opened
in 1934 and provided space and well-lit studios for artists for many
years.
(The unfinished appearance of the outer walls is due to the fact that
the
planned doubling in size of the art school was prevented by the onset
of
the Second World War.) The Ipswich School of Art has some famous names
associated with it: notably Colin Moss, Brian Eno and Maggi Hambling.
The building
became the Suffolk Institute of Technology in
2004 and in 2010 a Saatchi-sponsored art gallery. It continues as a
gallery space.
The original Ipswich Art School
The Ipswich civic coat of arms above the art deco
doorway bears seahorses rampant with the familiar shield of lion and
three ship prows. Beneath it, a deco scroll bearing the Latin legend:
'MUNIA ... CIVIUM
CIVITATIS DECUS'
which translates, rather gnomically, as: 'The functions
of citizenship are
the glory of the citizens'.
Reading
The story of Ipswich Museum is well told, with many illustrations in
the
book: 'A Rhino in the High Street' by R.A.D. Markham (see Reading List). Bob Markham was curator
at the museum for many years; one of his responsibilities was the
Ipswich geology collection which is of international importance.
See also our Street nameplates
page for a plethora of examples.