In a recent post I have described the exhibition “A sermon in stone” at All Saints Oakham which features photographs of the 13th century nave arcade capitals. That exhibition builds on work set out in an earlier blog post. The carvings feature biblical, classical and folklore themes and between them appear to tell the salvation story from the fall of Adam and Eve to the resurrection of Jesus and beyond. In this post I include a photograph and brief discussion of a carving that didn’t feature in the exhibition, as it was felt to be too badly damaged.
Figure 1. Making faces and praying
Most of the carvings are around the capitals on the pillars in the nave arcade, but two are actually on the chancel arch at the same height as on the arcade. Both have been damaged at some point it the past by the installation of a rood screen. One of these features in the “Sermon in Stone” exhibition – that on the north side of the chancel arch of jesters making faces above the pulpit with a more serious praying figure looking into the chancel (figure 1). The other, on the south side, was thought at the time to be too damaged to include. However when a high resolution photograph was taken (by Richard Adams who took all the photos for the exhibition) it was found that there was considerable detail remaining – see figure 2, which shows a lion like figure, in an oak leaf surround.
The question then arises as to whether or not this carving has any meaning in the overall salvation theme of the carvings. It is clear from the overall arrangement that those carvings on the north side represent the dark side of salvation history – the fall, the devil, temptations to sin – and those on the south side the light side of redemption and restoration – the eucharist, angels and evangelists, the annunciation and crowning of the Virgin. The jester on the north side fits into this theme quite well, as displaying a range of unredeemed human qualities, and on this basis one would expect the figure on the south side to represent something more positive. Now in scripture, the symbolism of a lion is nearly always negative, as a creature that attacks and destroys, except in one place in the book of Revelation where Jesus is described as a lion of the tribe of Judah (Revelation 5.5).
Then one of the elders said to me, ‘Do not weep. See, the Lion of the tribe of Judah, the Root of David, has conquered, so that he can open the scroll and its seven seals
So perhaps in this carving we perhaps see a representation of Jesus, identified as the Lion of Judah, sat on the throne of God in heaven. This would be appropriate in its position as next to the capital that shows the crowning of the Virgin and the Harrowing of Hell, which are also eschatological themes. But, as ever with these carvings, this identification must be quite speculative.
Of the internal fittings I have but little to say. They exceed in meanness even what is usual in country churches. And there must be but one opinion about them – they must entirely cleared away, and the whole refitted in proper manner with good oak seats
A few years earlier, Baron Stephen Glynne in his church notes had written in a similar, if somewhat milder, vein.
Altogether the interior is not so well kept as it deserves to be. The pews and galleries are shabby and the whole dirty and untidy.
In this short note we present some information contained in the history of the church in the Rutland County Magazine published in 1903 concerning the internal arrangement of the church before the 1858 restoration. In particular Figure 1 shows the arrangements of the pews as sketched by Rev. C. A. Stevens, superimposed on the ground plan of the church – the interior fittimgs so disparaged by Scott.
Figure 1. Box pew arrangements in All Saints church – from the Rutland County Magazine of 1903
For those who know the orderly front facing bench pews in All Saints today, the arrangement shown in the figure will appear very odd. Box pews (for which a rent would have been charged) fill the nave, extending into the Trinity chapel, the Chancel and the Lady Chapel and would have been occupied by the wealthier members of Oakham Society. The sides would have been 3 or 4 feet high and they would have afforded a degree of privacy. As an example of how they might have appeared, see the pictire of eighteenth century box pews from Inglesham church in Figure 2.
The lack of geometric regularity and uniformity in Figure 1 is clear, indicating that this arrangement developed over the years, as new pews were added and old ones removed or adapted. The hoi polloi would have been housed in the free sittings in the double deck gallery at the west end of the church.
The focus of the church was also very different from today. The red square gives the location of the pulpit, the clergy desk and the church clerk’s desk – which are in the centre of the nave, adjacent to the pillar with the Green Man capital. The pulpit is surrounded on all sides by pews, some of which, but by no means all, would have enabled worshippers to face the preacher and vice versa. Unfortunately no indication of how the chancel is laid out is given, but presumably the altar was at the east end as now.
The function of the pews and the names of those families that rented the pews are shown on the figure, but the writing is too small to easily read at the scale shown here. From west to east in the nave we have
In the north transept we have, again from west to east
Wellington; Vicar’s servants
These are presumably names of parishioner families. A final point of interest is the location of what is almost certainly the font, within the blue square. This stands in the middle of the central aisle at the west of church, which is in many ways much more liturgically sensible than its current position, tucked away amongst pews on the north side of the central aisle.
This post shows the poster boards that were produced for an exhibition at All Saints church in Oakham which opened in April 2026. The exhibition highlighted the elaborate stone carvings on the nave capitals in the church. The posters contained photos by Richard Adams, and text based on an earlier blog post by the author that can be found at The good, the bad and the grotesque – the decorated capitals of All Saints church in Oakham.
The posters
Note on Poster 6
In an earlier version of Poster 6, I queried what the third scene – the one that depicts Adam and Eve for asecond time, was meant to depict. This has also puzzled other writers in a range of church histories since the early 1900s. At the opening of the exhibition on April 18th, on viewing the large scale photo below, Prof Elizabeth Tingle, Professor Emerita at De Montfort University, made what I am sure is the correct identification. The scene represents the Harrowing of Hell, with Christ on the left holding the pennant or banner of the resurrection, leading Adam and Eve out of Hell, represented by the serpent at their feet. As such the three scenes are a representation of the Trinity – God the Father holding the orb as he crowns Mary, God the Holy Spirit coming to Mary in the Annunciation, and God the Son leading Adam and Eve out of hell between his death and resurrection. They thus form a fitting conclusion to the overall story of salvation shown on the Capitals.
The memorials of All Saints Oakham. Photographs and brief descriptions of the wall mounted memorials at All Saints church in Oakham (May 19th 2025)
From Oakham to Mandalay. The story of a young curate from Oakham and his brief service as a missionary in Burma before his early death (April 29th 2025)
Kinetic Water Power – some odd words on a memorial in All Saints Oakham led to some interesting findings about how church organs were powered at the start of the 20th century (25th April 2025)
All Saints Oakham – Gothic despoiled, restored and justified. A talk given at the conference “The Rev. Henry Alford, A.W.N. Pugin and the Restoration of St Mary’s Church, Wymeswold: ecclesiology & architecture in nineteenth-century Leicestershire”
Recently, whilst researching some aspects of the history of All Saints Church in Oakham, I found some really useful articles in the Rutland Magazine and County Historical Record from the early years of the 20th century. It seems that this magazine had only a limited life span, but the volumes that were published contain some interesting and in depth articles on aspects of Rutland history. As I was browsing the contents, I found, in the very first edition, an article by A J Waterfield of Stamford, in which he reviews a 1902 reprint of a 1763 book that sets out an alternative history of England, and in particular describes the reign of King George VI of Britain between 1900 and 1925. In reviewing the book, Mr Waterfield was delighted to find that it contains a description of King George’s new capital – the City of Stanley just south of Uppingham in Rutland! I shared his delight and enjoyment, so I thought I would share his article here. This is set out in the next section. This is followed by some further notes on the eventful reign of King George VI as foreseen from 1763, more on the city of Stanley, and a short discussion on the authorship of the original book.
The City of Stanley, Rutland by Mr A J Waterfield
Rutland Magazine and County Historical Record, 1, 34-36
Having got over the first flush of tempestuous joy, which followed the arrival of the prospectus of the Rutland Magazine, I am now able to read through the same in a spirit of almost judicial calm, in a manner dispassionate, and again with ‘ Pleasure at the helm.’ In the list of articles shown as intended for publication, I observe, that one of the many good things promised is styled, ” The Lost Villages of Rutland.” Now the purpose of my present endeavour is to set down a few rambling remarks respecting a City of Rutland which was never founded. It is just a hundred and forty years since there was issued anonymously—printed in London—a little book of about a hundred leaves, bearing title, “The Reign of George VI.” As the name barely affords a glimmer as to the drift of the work,
taken up at a what’s-to-come period, and begun at an era that will not begin these hundred years,
I may be allowed to use the words of the Editor of a reprint, sent out three years ago. Mr. Oman, the well-known author, and Fellow of All Souls’ College, Oxford, says :
The author was intending to influence the men of his own day, by pointing out, in the actions of his puppets what ought to be done and what avoided in the Year of Grace 1763.
The author himself, begins with a reference to Swift’s History of Captain Lemuel Gulliver [written 1726], and goes on to say,
The modesty which is ever the companion of true merit, would by no means admit your author to think of a parallel between this history and the travels of Captain Gulliver.
Briefly then, the volume, under present notice, is a forecast—the years of the ‘ action ‘ being 1900-1925,—and at this stage, that part of the subject concerning the nature and tendency of “The Reign of George VI” may be dismissed. The part played by the gallant little county which the Saxons called Roteland, will presently be discerned. Our author writes:
London, though the wonder of the world, never pleased the King. The meanness of his Majesty’s palace disgusted him; he had a taste for architecture, and determined to exert it in raising an edifice, that should at once do honour to his kingdom, and add splendour to his court.
In Rutlandshire, near Uppingham, was a small hunting box of the late King’s, which George admired ; not for the building, but its beautiful situation. Few parts of his dominions could afford a more desirable spot for such a purpose. The old seat stood on an elevated situation which commanded an extensive prospect over the adjacent country. It was almost surrounded with extensive woods ; which having been artfully planted, added the greatest beauty to the prospect, without intercepting the view. On one side there was an easy descent of about three miles, which led into an extensive plain, through which a river took its meandering course. Many villages seemed to rise here and there from out the woods, which gave a great variety to the scene, and the fertile plain was one continued prospect of villages, groves, meadows, and rivulets, and all was in the neighbourhood of a noble and capacious forest.
Stoke Dry, 2009 – WikipediaThe lcation of Stanley – Digimap
The landscape here described is that seen from Stoke Dry, the river the peaceful Welland, and the neighbouring forest, that of Rockingham. I remember reading, some years since, an ecstatic description of this quite charming spot, by an American visitor (perhaps Elihu Burritt, but I am not sure), whose opinion was that this viewpoint was one of the most delightful in the United Kingdom. Hereabout then, it is written, was begun, (one of several plans having been chosen), the building of a palace for his Majesty, to the exceeding wonder, no doubt, of the whole countryside. Toward the cost, a generous Parliament voted a first grant of a million sterling.
Nothing was spared to make this palace the wonder of the world,
and without touching details this bare statement is, in itself, quite sufficient to engage our interest, if not wonderment. Then followed, through the accident of an afterthought, the raising of some public edifices, Saint Stephen’s church and the Academy of Architecture being the first two ; of the latter, Gilbert, the King’s architect, was the first President. Later,
most of the nobility and many of the rich commoners, in imitation of their sovereign, erected magnificent palaces at Stanley,
by which name the fast uprising city became known.
What gave a prodigious increase to this noble city was the erection of the Senate House : that noble building . . . . the admiration of all Europe.
To hark back a little, I should before have mentioned that, by Act of Parliament, the Welland was made navigable
to the very plain at the bottom of the hill
on which the city was growing, for the purpose of the conveyance of the material required. Portland stone only was used, and
” the houses were all built to form one general front on each side of every street,”
a regularity which might very easily have proved wearisome. An Academy of Painting was formed, on a grand scale, and about the same time the King’s palace was finished, eight years after its commencement. We read that the shell of the building alone cost eight millions sterling, and that the Spanish Escurial and Versailles were each
infinitely exceeded by Stanley
More than a dozen pages of the book are given up to the description of the city of Stanley to name the wonders and outstanding features of which would be, as it were, to compile a catalogue. By the year 1921, it is written, Stanley possessed a Cathedral which
in architecture, grandeur and extent far exceeded Saint Peters’ at Rome,
while the gardens of the King’s palace were become an eighth wonder in the land. The city had grown to be four miles square ; it had its University,
and was evidently become the metropolis of the three, or rather, four kingdoms.
And here we must take our leave of the amazing City of Stanley, Rutland, having in no appreciable degree exhausted the written account of its glories.
As a pendant to the foregoing, I proceed to add that, in regard to the authorship of “George VI” Mr. Oman, in his Editorial preface, invited information. I sought the aid of Mr. Joseph Phillips, F.S.A., that Admirable Crichton in everything relating to the history and records of Stamford and the district around. One learned that the author was the Rev. William Hanbury, an eighteenth century Rector of Church Langton, Leicestershire, an account of whose by no means Lilliputian achievements, not less than his gigantic (Brobdingnagian is quite too unwieldy) schemes form a really remarkable chapter, in what may be termed local history. Then some pleasant correspondence with Mr. Oman, to whom was given (as a matter of course), the name of my informant, the sterling gentleman whose recent death we all deplore.
Palace of VersailleThe EscurialSt Peter’s Rome
King George VI
“The reign of George VI” was written in 1763, three years into the reign of the real George III. In the alternate history he is followed by George IV, George V. George VI then came to the throne in 1900. This suggests long reigns for the first three of these Georges, implying either that at least one of them fathered a child in his old age, or they were not necessarily all fathers and sons. By 1900, when George VI came to the throne, Britain was faced with an aggressive, expansionist Russian Empire that had taken over much of northern Europe. In the first year of his reign, the Russians invaded Britain, engaging in major land and sea battles. The nature of warfare was very much that of the 18th century – based on infantry and cavalry, with the leaders of the army being Earls and Dukes. Parliament refused at first to sanction money for the nation’s defence, partly because the Czar
had conveyed immense sums into England, and had most politically distributed them to the most advantageous purposes
but under pressure from the mob, parliament
they now offered to address his Majesty to take the state under his protection,
which in effect meant royal control over the exchequer, with which he properly equipped the army. The Russians were defeated at Wetherby under the field leadership of the king. The description given of the battle would not out of place in War and Peace. But this was not the end, and ongoing skirmishes with France tipped over into full scale warfare, with the army and the navy of the French king being supplemented by the remains of the Russian forces. George then led a small army into Flanders and northern France and forced the French into submission and a peace treaty was signed. The ensuring peace, in 1903, enabled George to turn to more peaceful interests in building up his country, and in particular in the building of his city of Stanley. The peace lasted until 1917, when the Russians attacked the German Empire, assisted, naturally enough, by the French. George took his army to assist Germany, and helped fight of the Russians, and defeat the French armies. In 1919 he entered Paris in triumph. Europe by this time was in a state of political and economic confusion, and George fought minor skirmishes and military actions throughout the next year, to subdue the Spanish in particular. The American colonists, still loyal to the crown, played their part in the defeat and overrunning of Mexico. It culminated with a victorious George being crowned King of France in 1920.
Entertaining as all of this alternative history is, it is of course, simply a reflection of the period in which it was written and of the concerns of that time. The armies were those of the 18th century, the countries and empires that threatened George were similarly those of that period. Monarchs and aristocracies still ruled and the French and American revolutions hadn’t happened. The huge changes brought about by the Industrial Revolution simply weren’t foreseen. The editor of the revised edition, Charles Oman has much more to say in his preface about the nature of the book’s predictions and how they relate to the politics of the original author’s own day.
The City of Stanley
As noted by Mr. Waterfield, he only gives the briefest of accounts of the City of Stanley, and the book contains much more information than that which he included. Rather than trying to summarise it, I have extracted the Stanley material and this can be accessed through the button below.
But here I would make one or two further points. Firstly, I presume the name of the city comes from the Stanleys who were of course the Earls of Derby and very prominent in politics and intrigue for many centuries before the book was written, But as far as I can see, the choice of name is not made explicit anywhere. I fear that I struggle to take the name seriously, Stanley being forever associated in my mind with Stanley Unwin, Stanly Baxter and Stan(ley) Laurel. But that is my problem.
Secondly it is clear that, as with the political situation that is supposed, in architectural and planning terms, the author is reflecting his own time, and the city he envisages is essentially Georgian. I find it has a slightly nightmarish quality to it – grand, but rather soulless buildings, with no indication of commercial or domestic life. Indeed one wonders where all those who will provide for the aristocratic occupants of Stanley will live and where its food will come from – cities do not exists in a vacuum. At the very least the surrounding areas of Rutland would have been wholly changed in nature.
Similarly there is nothing about transport. One might have expected something about a grand road connecting Stanley with London – the author must have surely been aware of John Ogilby’s Britannia from 1675, which showed strip maps starting in London (see the map for our area to the left). Two years before the book was written, in 1761, the Bridgewater canal had been opened in the northwest and was seen as a major technological achievement. That is perhaps reflected in the mention of the canalisation of the Welland. Elsewhere in the book, where King George’s munificence to the general population is described, it is stated that canals connected every city in the realm – more or less the only transportation development that is described.
The City of Stanley – from Gemeni 2 AI
Who was the author?
Charles Oman, the editor of the reprint of 1902, was of the view that the author of “The reign of George VI” was clearly local to Rutland, because of his knowledge of the topography on which Stanley was built, and it is hard ot disagree with that. There are a couple of other indications pointing in that direction. Firstly, the canalisation of the Welland had been achieved in some fashion 100 years before in 1670 by the building of the Stamford Canal from Market Deeping to Stamford bypassing a stretch of the Welland that was used by mills and was not navigable. This predated the building of the first modern canal (the Bridgwater mentioned above) by 100 years and contributed greatly to the commercial success of Stamford. It is plausible to suppose that the author was aware of this attempt to make the Welland navigable in the development of his ideas.
The second point also relates to Stamford. Stanley is said to have 25 parish churches. In this of course, it resembles London, but Stamford also had a multiplicity of small parishes and their churches within the town. Again, this was an idea on which the author might have drawn.
As can be seen from Mr Waterfield’s article, he identified the author as the Rev. William Hanbury, Rector of Church Langton in Leicestershire (1725-1778), and he was certainly an interesting character – a clergyman, garden and plantation creator, music festival organiser and philanthropist. But there seems to be little indication that he authored books and pamphlets such as the Reign of King George VI. Neither was he particularly local to Rutland.
On the edition of the book on Google Books, there is a note “Maddon?” which seems to refer to the Irish author Rev. Samuel Maddon (1686-1765). One of Maddon’s early works, from 1733, was what has been described as the first science fiction book “Memoirs of the 20th century” which included the first recorded depiction of time travel and consisted of diplomatic letters from between 1997 and 1999 in the reign of King George VI. The political situation depicted is however very much of his own time, with international relations mirroring those of 1733. The parallels are obvious, but there is no indication that Maddon was familiar with Rutland, and it may be that his book simply served as the inspiration for “The Reign of King George VI”.
To my mind, neither Hanbury or Maddon has a convincing case for being the author of the work considered here. I would look for somebody who lived in the Rutland / Stamford area, but as to who that might be I have no idea at all.
The painting of the Holy Family shown below has hung in the Vicar’s Vestry at All Saints church in Oakham for many years, and has, until recently, never been properly identified. Recent expert advice suggests it is a late 18th / early 19th century copy of a composition by Francesco Albani of between 1608 and 1610. It is believed that it was produced by a workshop in Italy, or perhaps the Netherlands, to satisfy the demands of those on the “Grand Tour” for devotional works. Whilst thus not of any great value, it thus does have an interesting back story.
After a composition by Francesco Albani, paint on metal, late 17th / early 18th century
It’s detailed provenance is not known, but a difficult to read caption on the painting frame (below) has the inscription
“Presented to Oakham Church in memory of Harry Ellingworth”.
The Ellingworth family were prosperous shopkeepers in Oakham in the late 19th and early 20th century, and a number of them were named Harry. The most significant of these seems to have been a Harry Ellingworth who was a Town Crier in Oakham in 1881.
Painting in frame (with window reflections)
Dedication label
Interestingly a number of similar copies of the painting can be traced – either painted in Albani’s workshop or elsewhere (see below). The details vary, but the basic composition is the same. The market for such paintings was clearly buoyant.
Print of the original by Francesco Albani housed in the Museum of Fine Arts in Boston. 1608-1610
Dulwich Art Gallery Holy Family by Studio of Francesco Albani 1610-60
The painting shows a somewhat weary and pensive looking Madonna in a red dress with a dark blue shawl, The Christ child sits on a golden cushion on her lap, partly surrounded by a blue sheet. Joseph looks on from the right, with an open book in front of him, that seems to be placed on a stone chest or altar or perhaps a tomb. It may be that the directions in which the Madonna and her husband are pointing is of some iconographic significance – Joseph, in his contemplation of scripture pointing upwards to God, and Mary, with the Christ child on her lap, pointing down to earth, the direction, if that is an appropriate word, of the incarnation. Two angelic figures look on from the left. There is a figure carved on the stone chest, that, from the original, appears to be some sort of Bachannalia, with wine being poured out for small dancing child like figures. Again there may be some iconographic significance here with a representation of Christ’s blood being poured out at the Eucharist. The mixture of biblical and classical themese seems to have been common at the period of the original composition.
One of my recent tasks as a member of the committee of the Black Country Society has been to help organise an exhibition of photographs and other material at Dudley Archives entitled “From Agenoria to Beeching – the first and last days of steam in Dudley”, which ran from October 2025 to January 2026. This brought together material on the first Railway in the area (the Shutt End or Kingswinford Railway) and its locomotive, the Agenoria, with photos from the 1950s and 1960s that illustrate the last days of steam in the area. As the exhibition drew to a close, I prepared a web version which included the majority of the material in the exhibition and gave it some sort of long term presence. When this online exhibition went live, it resulted in some very interesting email exchanges and conversations with a number of those who looked at it. One of these was with Mr. David Marlow from Northumbria who provided two items that are now actually included in the online exhibition. The first is a photograph of a plaque on the wall on the old (and then derelict) John Bradley and Company factory in Stourbridge (now renovated as the Lion Health Centre), which commemorated the locomotives Agenoria and its sister locomotive, the Stourbridge Lion, that were built there. The second was a copy of a posed picture of the Agenoria with a number of workmen / managers. The original was donated to the National Railway Museum in the 1990s. From Mr. Marlow’s perspective, this photograph was particularly interesting as the “driver” of the locomotive was his great great grandfather Edward Stockton. Both these items raise some interesting chronological questions about the timelines of the Agenoria and the Stourbridge Lion, and these issues are probed in what follows.
Construction and operation
Figure 1. The derelict John Bradley factory in the early 2000s and the renovated building, now the Lion Health Centre
The Agenoria and the Stourbridge Lion were built at the John Bradley factory in Stourbridge in the 1820s (figure 1). The first was to run on the Shutt End Railway in Kingswinford for over 30 years, and is now preserved in the National Railway Museum in York. The second became the first locomotive to run under steam in the USA, although it was not much used because the tracks provided were not sufficiently robust. The careers of both locomotives are well outlined in “Two Stourbridge Locomotives” by Bill Pardoe and Michael Hale, Black Country Society Studies in Industrial Archaeology No. 3, published by the Black Country Society.
On a Black Country Society Industrial Archaeology Group visit to the derelict John Bradley foundry in 2005, Keith Hodgkins took a photo of a plaque that had been placed there by the Newcomen Society in 1959, commemorating the Stourbridge Lion and the Agenoria (Figure 2a). In our recent correspondence Mr. Marlow sent a photo of another plaque from the same building, apparently placed there to replace the Newcomen Society plaque by the Stourbridge Locomotives Celebrations Committee in 1988 (Figure 2b). The current whereabouts of these plaques is not known. But my interest was aroused by the dates on the plaques – Stourbridge Lion 1828 and Agenoria 1829 on the first, and Agenoria 1828 and Stourbridge Lion 1829 on the latter. There is clearly some chronological confusion here – which of the two engines should have the chronological priority?
a
b
Figure 2. Plaques celebrating the Agenoria and the Stourbridge Lion
From the historical record, we can trace the timeline of the construction and operation of the locomotives to some extent. The Shutt End Railway was first proposed in the early 1820s to connect the mines and the developing Iron Works in the area to the Staffordshire and Worcestershire Canal to the west, to enable coal and iron products to be shipped to market. Eventually in January1827 an agreement to build the line was signed between the Dudley Estate and James Foster of the Shutt End Iron Works, which was itself owned by John Bradley and Company, coal and iron masters of Stourbridge. Construction took place soon after the signing of the agreement and the line was opened with great celebrations on June 2nd 1829. The Agenoria locomotive was built by Foster Rastrick and Co at Stourbridge (at the works of Figure 1). The Foster was the same James Foster who owned the Shutt End works, and John Rastrick was a noted locomotive engineer and builder.
In 1828 Horatio Allen, went on a railroad research tour of England on behalf of the Delaware and Hudson Railway in the USA. By July 1828 he had ordered four locomotives – three from Foster, Rastrick and Company and one from Robert Stephenson and Company. Stourbridge Lion was one of these three locomotives built by Rastrick, but Stephenson’s shop completed their locomotive, the Pride of Newcastle, before any of Rastrick’s locomotives, and it arrived in America nearly two months before the Stourbridge Lion, which was transported from Liverpool aboard the ship John Jay, arriving at New York in mid-May 1829. The two other Foster, Rastrick & Co locomotives that had been ordered by Allen, Delaware and Hudson, arrived in New York in August and September 1829. The Lion however was the first to be used, running on the Delaware and Hudson Railway on August 8th 1829. Although the locomotive performed well, the track laid for it was unable to adequately take its weight and it never found operational use.
So which of the Agenoria and Stourbridge Lion should have priority. Certainly the Agenoria ran along tracks at Shut End in June 1829 a few months before the Lion did the same in the USA. But the Lion is the first recorded in the historical record on its shipment to the US in May that year. But, in my mind it is likely that the Agenoria was under construction and seen by Allen before he placed his order in July 1828. Certainly the Agenoria must have been complete by early 1829, as it is almost certain that there would have been extensive trials on the Shutt End line before the public opening in June that year. So I would suggest that Agenoria was probably completed first, sometime in late 1828, and the Lion a few months after that. Thus of the two plaques, the second, from 1988, is probably correct, although it would be fairer to say that both were probably constructed if not completed in 1828, and first ran in operation in 1829. But Agenoria should have the historical priority in both construction and operation.
Retirement and Restoration
The Agenoria ran along the Kingswinford Railway from the top of the incline at Ashwood Basin in the west to the bottom of two inclines close to Kingswinford church in the east. See the map from “Two Stourbridge Locomotives” shown in Figure 3.
Figure 3.The Shutt End Railway – from “Two Stourbridge Locomotives” by Bill Pardoe and Michael Hale, Black Country Society Studies in Industrial Archaeology No. 3
One incline (shown in Figure 3) took the railway itself to the mines around Corbyn’s Hall in Pensnett, and one (not shown on the Figure) provided access to and from the works of John Bradley and Co. Both inclines can be assumed to have been cable hauled. The Engine Shed and presumably other maintenance facilities was close to the foot of the two inclines. The Kingswinford Railway was only connected to the wider Earl of Dudley’s Railway network (the Pensnett Railway) in 1865, through a junction several hundred yards to the west of the bottom of the inclines. Correspondence in 1864 between the mineral agent of the Dudley Estate (Frederick Smith) and William Orme Foster who had taken over control of John Bradley and Co Iron Works from his uncle James Foster, implies that Agenoria was owned by John Bradley and Co, rather than by the Dudley Estate, as was the Locomotive Shed and the maintenance facilities. The correspondence was about the state of the Kingswinford Railway infrastructure and led to improvements being made and a new locomotive being purchased by Foster in 1865 – a Manning Wardle 0-4-0 saddle tank. It is generally assumed that it was around that time that the Agenoria was taken out of service.
The next mention of Agenoria in the historical record is in 1880, when Edward Marten (Chief Engineer at the Midland Steam boiler Inspection and Insurance Co in the 1860s, and later the engineer in connection with the South Staffordshire Mines Drainage and Improvement Act of 1873) sought to gain support for restoring and preserving the locomotive whose components by that time seem to have been scattered around Shut End Iron Works. This led to a restored Agenoria being exhibited at Wolverhampton Fine Arts & Industrial Exhibition in 1884, before being formally donated to the Science Museum in 1885 by William Orme Foster. The implication here is that, after the Agenoria had been taken out of service, it was taken into the Iron Works, either by being hauled up the incline or (possibly more likely) taken around a less steep but more circuitous connection into the works that was in place by 1880 and possibly a couple of decades earlier.
Figure 4. The Agenoria and workers (from Mr. D. Marlow)
Now consider the photograph that was sent to me by Mr Marlow, shown in Figure 4 above. Mr. Marlow believes the figure closest to the boiler on the photograph, in the driver’s position, is his great great grandfather, Edward Stockton, and family tradition has it that he was one of the drivers of the locomotive. Figure 5a shows an expanded version of Figure 4 where the driver is shown in better definition, whilst figure 5b shows an (admittedly poor) photograph that is certainly of Edward Stockton and his wife Ellen from the 18890s or later, also supplied by Mr. Marlow. These both, in my view, seem to show the same person, and I am reasonably confident that the driver of the footplate is indeed Edward Stockton.
a
b
Figure 5 Edward Stockton – (a) from Figure 4 and (b) showing Edward and his wife Ellen
Edward Stockton was born at Moreton Cobbett in Shropshire in 1824, Some time before the 1851 census he had moved to the Pensnett area as he married an Eliza Farringdon at Dudley Parish Church in November 1847. She died within a very short time and Edward then married her sister Ellen two years later, this time at Kingswinford Parish Church. In the 1851 census he is identified as a Furnace Man, in 1861 as a Labourer, in 1871 as a Labourer in Iron Works and in 1881 as a Farm Labourer, always living in the vicinity of the Shutt End Iron Works. Nowhere is he identified as an Engine Driver as might be expected. Of course this might simply be due to the idiosyncrasies of how he completed the census returns, but it seems to me more likely that Stockton became an Engine Driver sometime after the 1871 census. This suggests that the Agenoria, after being withdrawn from the Kingswinford Railway, had a brief afterlife as a locomotive in the Shutt End works, where an extensive railway system was developing in the 1870. Supposing the photo to have been taken between 1871 and 1875, this would put Edward in his late 40’s / early 50’s at the time, which seems consistent with the photograph. The occasion of the photo might be to mark the start of Agenoria’s Iron Work’s career (which would imply that it was not moved into the works till the 1870s, or perhaps we have here a picture of the reconstructed engine in 1880 or early 1881 before the census of that year. However at this time Edward was a farm labourer and presumably working elsewhere. The first occasion seems to me to be more likely.
Recently I have come across a number of old Church Guides and Histories for All Saints Church in Oakham- from 1932, 1972 and 1980. PDFS of these can be found on the History and Heritage page of the church website. There comes a time of course when old guides and histories become historical documents in their own right, revealing how the church was thought of and communicated at the time of writing, and in their description of their contemporary activities, give an indication of the nature of the church’s worship and other activities. This is particularly true of the 1932 guide – The Story of Oakham Church, School and Castle by the then vicar, A. Edward Fraser. In what follows I post just a few pages from this this guide – the adverts it contained for local businesses that paid for its publication. These are given below, and I suspect that Oakham readers will find them of considerable interest.
In 1996, All Saints church in Oakham, organised a flower festival. Some photographs from this event were deposited in the church safe for safe keeping, and I have recently come across these whilst searching the safe for other items. It seems to me that these photos are well worth sharing – both for the flower displays but also for the glimpse they give of the church from 30 years ago. Pleas click on the photos below for larger versions of the pictures. The colours aren’t marvellous – they can only be as good as the prints – but they will be of interest to some.
Holy Trinity ChapelHoly Trinity ChapelNorth TranseptHigh altarSouth TranseptSouth TranseptSouth TranseptLady ChapelLady ChapelArea near north doorCentral CrossingCEntral CrossingNorth TranseptNear pulpitEntrance to Lady ChapelWest End