Summary
Ukrainian Autocephalic Orthodox Church, formerly Eccleshill Methodist Chapel, 1854-1855, by James Simpson of Leeds, Italianate style.
Reasons for Designation
The Ukrainian Autocephalic Orthodox Church, Eccleshill, Bradford, designed by James Simpson of Leeds and built in 1854 to 1855, is listed at Grade II for the following principal reasons:
Architectural interest:
* for the quality of the design in an Italianate style by James Simpson of Leeds;
* the completeness of the building’s 1854 to 1855 plan form and much of its interior with a complete-oval gallery and box pews;
* its new use from the 1960s onwards as a Ukrainian Orthodox Church incorporating an iconostasis, altar, commemorative plaques and wall paintings.
Historic interest:
* as an illustration of the importance of Methodist worship in Eccleshill, Bradford in the mid-C19;
* a reflection of the growth of the Ukrainian Orthodox Church in the North of England in the mid- to late C20.
History
Eccleshill Methodist Chapel was built in 1854-1855 to replace an older Methodist chapel of 1775 on nearby Lands Lane (Grade II), in order to meet the needs of the growing population of the area. The architect was James Simpson of Leeds, an important northern chapel architect who also designed the Central Methodist Church in York of 1839-40 (formerly known as the Centenary Methodist Chapel, Grade II*). The new chapel was intended to hold more than 550 people and was estimated to cost about £1050. The corner stone was laid on 21 August 1854, when three sides of the building were nearly complete. It was laid by John Yewdall, who contributed £100 to the cost of the build, assisted by John Sugden and the architect James Simpson. The Chapel was opened on 13 July 1855, celebrated by a series of special services. In 1964 Eccleshill Methodist Chapel was purchased by members of the Ukrainian community in Bradford and opened as the Ukrainian Autocephalic Orthodox Church.
The first notable migration from Ukraine to England was in the late C19 and early C20 when several hundred people from western Ukraine settled in Manchester. Although most of them had either returned to Ukraine or relocated to the USA or Canada by the outbreak of the First World War, a small community remained in the city. After the Second World War around 35,000 Ukrainians came to the United Kingdom, including many former soldiers and other displaced persons. Many were recruited into the European Volunteer Workers Scheme, which addressed labour shortages by offering paid employment in industry and agriculture. Most of these post-war migrants remained here, and they and later generations of their families formed Ukrainian communities in towns and cities across England, with concentrations in London, Manchester, West Yorkshire and the East Midlands.
More immigration occurred after the loosening of restrictions in (and later, the collapse of) the Soviet Union. By around 2005 there were estimated to be 100,000 Ukrainians in the United Kingdom. The ongoing conflict with Russia, which escalated in 2022, has brought (to date) around a further 160,000 refugees here. As Ukrainian communities have developed, they have often shared or adapted existing buildings to create spaces for worship, education, cultural celebrations and community activities. The two major Christian traditions - the Ukrainian Catholic Church and the Ukrainian Autocephalous Orthodox Church - are represented by a number of buildings across the country. These have been adapted for purposes including the installation of an iconostasis (a wall of icon paintings which separates the nave from the altar). The iconostasis and wall paintings at this church were erected and painted by Ukrainian craftsmen, many of which were members of the congregation.
Details
Ukrainian Autocephalic Orthodox Church, formerly Eccleshill Methodist Chapel, 1854-1855, by James Simpson of Leeds, Italianate style.
MATERIALS: coursed dressed sandstone ‘bricks’ with sandstone ashlar dressings. Slate roof coverings.
PLAN: the chapel lies adjacent to Stony Lane to the north and is aligned east/west, with the chancel at the west end (liturgical east) and the entrance to the east (liturgical west). It is rectangular in plan with two storeys and a basement to the south.
EXTERIOR: the main east end is of three bays and has a plinth, ashlar sill course and impost course. It has broad quoin pilasters, a moulded bracketed cornice and a pediment. On top of the quoin pilasters is a parapet which abuts each side of the pediment. The pediment has a relief carving which reads: 1854 / WESLEYAN / METHODIST. The central, projecting entrance porch has Tuscan piers with a deep entablature and blocking course. The doorway has an archivolt arch with keystone and block imposts over the fanlight. It is flanked on the ground floor by two vertical, square-headed windows with ashlar lintels and projecting sills. To the first floor is a triple group of round-headed windows with smaller outer lights and linked ashlar archivolt arches, supported on two central piers. This group is flanked by two round-headed windows with ashlar chamfered voussoir arches. All the windows have coloured glass borders. Mounted on top of the porch is a Ukrainian three barred cross. To the right of the elevation is a marble plaque with an inscription in Ukrainian and English which reads: IN MEMORY / OF THE SEVEN MILLION / VICTIMS OF THE ARTIFICIAL / FAMINE IN UKRAINE / CREATED BY MOSCOW / COMMUNIST’S REGIME / IN 1932 -1933 / UKRAINIANS IN BRADFORD.
The north and south sides are of six bays. The north side (facing the road) is of coursed dressed sandstone ‘bricks’ and has a plinth, ashlar sill course and impost course, and bracketed eaves cornice. The quoin pilasters have a moulded bracketed cornice surmounted by a parapet. Each of the first five bays have vertical square-headed windows with ashlar lintels and projecting sills at ground-floor level. The sixth bay has a square-headed doorway with overlight and ashlar lintel, and is fitted with an iron security gate. At first-floor level there are round-headed windows to each bay with ashlar chamfered voussoir arches. All the windows have coloured glass borders. To the left of the elevation is a fixed timber sign in Ukrainian and English which reads: UKRAINIAN AUTOCEPHALIC / ORTHODOX CHURCH / PARISH OF / ST. MARY PROTECTRESS / BRADFORD.
The south side and west end are plainer in style. The south side is of coursed dressed stonework and has a plinth, string course, sill course and bracketed eaves cornice. The quoin pilasters have a moulded bracketed cornice surmounted by a parapet. There are vertical square-headed windows with ashlar lintels and projecting sills to each of the six bays at ground floor level. Each bay at first-floor level has a round-headed window with voussoir arches. All the windows have coloured glass borders. In the first bay of the south side is a semi-subterranean window at basement level fitted with an iron security gate and surrounded by iron railings.
The three-bay west end is of coursed, dressed sandstone ‘bricks’ and has a plinth, ashlar sill course and string course at cornice level. The pediment has a parapet to each side. To the ground floor is a square-headed central doorway with an ashlar lintel flanked by two windows with ashlar lintels (all now blocked). There is a further square-headed doorway with an ashlar lintel to the left of the elevation (now blocked). To the first floor are three round-headed windows with voussoir arches (now blocked).
INTERIOR:
The entrance porch leads into a narrow entrance lobby which has two staircases to the gallery with quarter landings. The lower parts of the staircases are closed string with timber handrails, turned balusters and newel posts. At the top of the staircases are six panel doors into the gallery. Mounted on the wall of the entrance lobby is a black marble plaque with gilt lettering which is inscribed in Ukrainian and English with: 988 – 1988 / MILLENNIUM OF THE / BAPTISM OF UKRAINE / IN THE / HOLY ORTHODOX FAITH / BY ST. VOLODYMYR / GRAND PRINCE OF / KIEV – RUS – UKRAINE. / MEMBER OF / U.A.O. CHURCH / IN BRADFORD.
Two three-panel double doors lead from the lobby into the main body of the church, above which are two vertical square-headed windows with coloured glass borders. At first-floor level is a moulded ceiling cornice, and linked architraves to the upper sections of the round headed windows. There is a complete-oval gallery with a moulded panelled front on cast iron Tuscan columns, divided at the west end by a timber iconostasis. There are panelled box pews at ground floor level (central section removed) and to the gallery, many of which retain their original fittings. The central (Royal) doors within the iconostasis lead into the sanctuary. To the left-hand side a moulded pedimented doorway provides access into the vestry with dado panelling, fitted benches and coat hooks. The church's wall paintings include a large painting at the west end of the Resurrection of Jesus holding a white flag with a red cross.
