Liverpool Cathedral, a monumental work of Sir Giles Gilbert Scott, represents one of the most ambitious architectural projects of the 20th century. Initiated in 1904 when Scott was just 22, the cathedral was not completed until 1978, decades after his death. The lengthy construction period, spanning two World Wars and significant changes in architectural trends, imbues the cathedral with a unique blend of tradition and innovation that evades simplistic categorisation.

A Gothic vision

Liverpool Cathedral stands out as the most traditional of the new English cathedrals built in the 20th century, drawing heavily on Gothic principles. The competition to design Liverpool Cathedral, launched in 1901, was a landmark event in British architectural history. The competition attracted many renowned architects, but it was the design submitted by a 22-year-old Giles Gilbert Scott, still articled to Temple Moore (who also entered the competition) that won the day. Despite his youth and inexperience, Scott's Gothic Revival design impressed the judging panel, which included prominent figures like Norman Shaw and G. F. Bodley.

Initially, there were concerns about Scott's inexperience, he himself quipped that he had only previously designed a pipe rack. It was decided that Bodley should act as a mentor to Scott and collaborate with him on the project. However, Scott quickly proved his capabilities and upon Bodley’s death in 1907 Scott took full control of the design.

Scott’s reworking of the design from 1910 onwards marked a significant departure from his original plans. He abandoned the twin transept towers in favor of a vast central tower, which became the cathedral’s most iconic feature. This change transformed the building from a conventional Gothic structure into a composition of monumental masses, each element contributing to a sense of the sublime that was at once both traditional and modern.

Scott’s evolving vision for the cathedral was characterized by what he described as a “bigness of touch.” He sought to achieve grandeur not through ornate detailing but through the scale and proportion of the building’s major elements. This approach was revolutionary for its time, particularly in its fusion of Classical monumentality with Gothic verticality. The central tower, flanked by grand transept entrances, became a powerful statement of Scott’s belief in the importance of scale in architecture.

This shift in design also influenced the cathedral’s interior, where Scott moved away from the traditional open-plan Gothic cathedral towards a more layered and Romantic interior. By narrowing the dimensions of the central tower and adding features like the Dulverton Bridge, Scott created a sense of mystery and spiritual depth that mirrored the complexity of ancient cathedrals that had evolved over centuries.

Reception

Despite its many innovations, Liverpool Cathedral faced criticism, particularly from modernists like Pevsner, who saw the building’s Classical symmetry and grandiose spaces as outdated. However, this criticism overlooks the subtlety of Scott’s design, which successfully integrates Classical and Gothic elements to create a building that is both monumental and spiritually resonant.

Scott’s ability to synthesize different architectural styles is also evident in the cathedral’s detailing. The Lady Chapel, for example, combines elements of Gothic and Renaissance architecture, while the War Memorial Chapel’s restrained use of Classical motifs creates a poignant contrast with the more ornate Gothic reredos in the main sanctuary. Scott’s collaboration with sculptors like Edward Carter Preston further enhanced the building’s narrative power, with sculptures that were fully integrated into the architectural scheme, rather than added as afterthoughts.

Liverpool Cathedral, with its combination of Gothic grandeur and Classical order, stands as a testament to Scott’s architectural genius. It is a building that defies easy categorisation, embodying a Romantic vision of architecture that is both timeless and innovative. While it was initially criticized for being out of step with the modernist trends of its time, it is now recognised as one of the most important examples of 20th-century architecture in Britain.

The cathedral’s completion in 1978 marked the end of an era, but it also set a standard for the integration of tradition and modernity in sacred architecture. Scott’s vision for Liverpool Cathedral was not just to create a building for his time but to craft a timeless monument that would inspire future generations. In this, he succeeded magnificently.