ALL SAINTS CHURCH, HALL AND FORMER VICARAGE

Work on All Saints' Church which is constructed of bluestone with freestone dressing, commenced in 1858 to the Early English design of Nathaniel Billing, the English-born architect and articled student to the famous Gothic revivalist, George Gilbert Scott. The nave and triple-gabled Chapel Street facade were erected during this period, as well as a polychromed vicarage presumably also designed by Billings. In 1873 the church was extended by architect Frederick Wyatt. The design departed from Billings' model by the inclusion of an apsidal sanctuary and chancel. In 1882, some time after Wyatt's death the chancel aisles and vestry were added under the supervision of architects Terry and Oakden. Since then many ornate fixtures and fittings have been added to the church, notably the High Victorian style decoration in the sanctuary and chancel, the baptismal font, the war shrine, the rare west window, and the richly decorated Gothic blackwood screen of 1918 designed by architect Louis Williams. Work on the Gregory Memorial Hall commenced in 1908 to the design of architect, P. G. Fick. Constructed of red brick, the abstracted Gothic hall is influenced by the Arts and Crafts movement and was named after the founder of All Saint's Church, John Herbert Gregory (1827-1897).

All Saints' Church, former Vicarage, and Hall are of architectural, historic and aesthetic importance to the State of Victoria.

All Saints' Church, former Vicarage and Hall are architecturally important as an example of the complimentary work of several architects, notably Nathaniel Billing whose original model of the church remains in the north transept, Frederick Wyatt, Terry Oakden, and Louis Williams, all renowned for their ecclesiastical designs. The church model is significant for its rarity. The church is an outstanding example of the evolutionary use of the Gothic Revival, the progenitor and the predominant style of all religious architecture in Australia, and its unusual plan and form incorporates French influences. The church is aesthetically significant for the quality of its interior decoration, and objects, notably the stencilled designs of the chancel, the pair of candelabra, which were obtained from King George II's chapel, Windsor, the chapel and sanctuary screens of wrought iron, the elaborately carved narthex screen and stone monuments, the fixed cedar pews dating from the 1860s, as well as the many fine stained glass windows designed by Ferguson & Urie, and Clayton & Bell of London. The All Saints' Church forecourt is historically and aesthetically important for its symmetrical design which compliments the formal qualities of the triple-gabled building. Landscaping features include the curved paving and the two Magnolia grandiflora trees which flank the central doorway of the church.

The former Vicarage is of architectural and historic importance as one of the first examples of the use of polychrome brickwork, which became popular in the later nineteenth century. It is also significant as a model example of what was considered to be the ideal English vicarage. The Gothic detailing of the interior is a notable decorative feature.

Gregory Hall is important for its abstracted Gothic Arts and Crafts design which compliments the architectural forms within the All Saints' precinct, and for its interior which survives largely intact with its hammerbeam roof, gallery, and copper detailing.

All Saints' Church, former Vicarage and Hall are together important for their associations with Rev JH Gregory, founder of All Saints' Parish and Church. Pioneer bush Minister, and the first Anglican Minister to the Victorian goldfields, Gregory was Vicar of All Saints' from 1858 to 1893. As a Jubilee Thanksgiving, All Saints' Parish erected the Gregory Memorial Hall in their founder's honour. The collection of surviving buildings illustrates the wide range of cultural activities centred on this important parish complex

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Religion

Category

Church