Lethaby chose to be closely involved with the construction of the church, directly engaging craftsmen, contracting with suppliers and taking overall responsibility for all aspects of the design. However, Wells proved an unreliable apprentice. He failed to keep Lethaby informed of difficulties which arose during construction, particularly related to his increasing the height of the crossing tower beyond that agreed, and beyond the limit which the foundations could properly support.[6] This caused ongoing problems during the building period and a deterioration in Lethaby's relationship with the Fosters, leading ultimately to Lethaby waiving his fee. All Saints was to be his last architectural work; thereafter he focussed on his role as Surveyor of the Fabric of Westminster Abbey,[4] and on his writing and lecturing.[a][8]
The church remains an active parish church in the Diocese of Hereford.[9] Peter Davey, in his work Arts and Crafts Architecture, describes All Saints as "one of the greatest monuments of the Arts and Crafts movement".[1]
Architecture and description
The body of the church is built of Red sandstonerubble. It consists of a nave, a porch surmounted by a bell tower, a crossing tower, north and south transepts and a chancel.[10] The roof construction is unusual for its time, the vaulting is unreinforced concrete, over which Lethaby placed a thatched roof.[11] The concrete allows for sweeping pointed arches in local stone which rise almost from floor level and run the length of the nave.[1] Lethaby's inspiration for the arches has been debated by architectural historians. Simon Jenkins sees parallels with Edward Schroeder Prior's St Andrew's Church, Roker and also with work by Frank Lloyd Wright;[2] while Alan Brooks, in the 2012 revision to the Herefordshire volume of the Buildings of England, notes similarities to work by Lethaby's teacher, Norman Shaw at Adcote but also to genuine medieval French and Catalan abbeys, such as the monastery at Poblet.[b][3]
Davey notes the innovative, practical advantages of Lethaby's roofing arrangement, as well as its pleasing aesthetic. The combination of thatch and concrete ensured excellent insulation; Davey considers the roof "one of the most sophisticated constructions of its day - and more so than many of our own".[1]
A three-quarter size replica of All Saints was constructed on the upper floors of a skyscraper in Osaka, Japan. The replica acts as a wedding venue.[14][15][16] The interior was laser scanned.[17]