Continuing my exploration of Headingley Hill, while undertaking a British Listed Buildings Photo Challenge, the next building on my list was No. 1 Ashwood Villas (1870), a pair of semi-detached houses built in a Gothic Revival style using sandstone from the Elland Flags for the rock-faced walling and coarse grained Rough Rock for the dressings.
By the time that the 1851 Ordnance Survey (OS) map was published, the development of Headingley was mainly restricted to plots strung along Headingley Lane but, in the later Victorian period, most of the building took place on its north side up to Woodhouse Cliff, principally along Cumberland Road and Grosvenor Road as marked on the 1893 OS map.
The next building on my list to photograph was the former Headingley United Reformed church, with its walls and gate piers (1864), designed in the Gothic Revival style by Cuthbert Brodrick, who designed Ashfield (c.1860) on Grove Road, but was best known for Leeds Town Hall (1858), Leeds Corn Exchange (1863) and Leeds City Museum (1868).
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| Headingley United Reformed church |
The by now familiar pattern of Elland Flags sandstone for walling and Rough Rock for the dressings is again seen here, but I was more interested in the dull red sandstone used for the columns to the south door and which I immediately considered to be Red Mansfield dolomitic sandstone – a long since unavailable stone that was widely distributed across England following the growth of the railway network.
To form the columns, the sandstone has been laid edge bedded and one of these had spalled, which enabled me to collect a few specimens of stone that had become detached. When I examined them with my hand lens, I could see that it is very fine grained and looks quite different to the Permo-Triassic sandstones, which tend to be medium grained and a much brighter red.
I continued up Cumberland Road and just got glimpses of the rear of Nos. 1-5 Headingley Terrace, its attached garden studio and gate piers and the semi-detached houses forming part of Devonshire Hall but, although I took a few record photos for the purpose of my Photo Challenge, I can't say too much about them.
Spring Hill (1846) is a Gothic Revival house by Thomas Shaw and, although I didn't try and take a close up photo of them, each gable has its apex adorned by a heraldic beast. Elland Flags sandstone for the walling and Rough Rock for the dressings are again the favoured building materials, which are also used for its coach house and stables.
On the opposite side of the road is the mid C19 gatehouse to Devonshire Hall, surrounded on each side by a cottage, which are built with large blocks of massive sandstone from the Elland Flags with a tooled finish. Gritstone is used for the dressings and the parapet, which is pierced with alternate large and small roundels.
From the gateway, I got a a distant view of Devonshire Hall (1928), which was designed in the C17 Scottish Baronial style by J.C. Proctor and F.L. Charlton as a hall of residence for the University of Leeds. The walls are rendered, but stonework is exposed in the snecked masonry to the ground floor, the oriel that rises to the clock tower, the crenellated parapet and the dressings.
Yellowish sandstone from the Elland Flags, with Rough Rock dressings, is again used for the Tudor Revival style Cumberland Priory (c.1840), another speculative development by John Child at Headingley Hill, which has its boundary wall and gate piers separately listed.
At the end of Cumberland Road, I could only catch a glimpse of the west elevation of Ridgeway House (1848), built for the linen yarn draper Mr Blackett, which is built in gritstone with a rusticated/rock-faced ground floor and ashlar for the upper storeys.
Its substantial coach house and stables, which is now converted into the residential Ridgeway Cottage, is built with sandstone from the Elland Flags, which would suggest that the transport costs of the Rough Rock from the Meanwood and Weetwood quarries limit its use to dressings and the higher quality buildings.
Making my way back down Cumberland Road, I found the archway in the boundary wall that forms the entrance to a snicket, which preserves the public right of way that existed before the land was sold off for development and, together with the boundary walls and gate piers on Grosvenor Road, is Grade II listed.
Arriving on Grosvenor Road, I took a quick snap of Hilly Ridge House (1839) and its gate piers and railings, before walking down the road to photograph the boundary wall to the west of Grosvenor Terrace (1845) and the rear elevation of the houses that I could see.
Passing Elmfield (1846), another house by Thomas Shaw that I could only partially see behind a high garden wall, I took a few photos of Nos. 1 to 3 Grosvenor Mount and its separately listed boundary walls, which are again built with yellowish sandstone from the Elland Flags.
The character of the streetscape in this part of Headingley appears to mark the beginning of a change from large detached and semi-detached villas set in substantial plots, which were owned by wealthy businessmen to, to more densely built terraced housing targetted at a lower social class that desired to live in this affluent suburb.
Taking a photo of Grosvenor House, where only its separately listed railings and garden wall were were part of my Photo Challenge, I carried on down Grosvenor Road past the site of a quarry that was marked as still active on the 1851 OS map. The 1893 OS map shows that it was incorporated into the garden of Grosvenor House, but since the 1970s has been used as a communal garden known as Dagmar Wood.









































