planning authorities, to specify it or

advise on its use.

The Society has not been alone in its

efforts to revive traditional materials

and repair methods, and several local

authorities such as Essex County

Council run an impressive list of training

days on subjects like thatch and timber

repair. These are admirable and deserve

every encouragement.

But however much a good Con-

servation Officer can coax out skills

that may be in embryo, itis not true that

anyone can simply pick up the ability

to do work of the highest quality. Many

skills can only be achieved after a

lifetime’s experience, which is why

many existing craftsmen are highly

dubious about the title ‘Master

craftsman’ being developed as a qual-

ification for new higher level courses.

In spite of the terrible savaging the

building industry has suffered recently,

and in spite of the relentless downward

pressure on standards caused by

uncontrolled competitive tendering,

there does at last seem to be a new

awareness of the importance of

craftsmanship The founding of the

Heritage Contractors Group (see page

17), made up of the principal specialist

historic building contractors, is a step

towards maintaining quality. At the

same time there are new NVQ

qualifications emerging, matched by a

growth of courses claiming to offer

conservation in some form.

Sadlyit is not clear that those running

some of these courses understand what

conservation is, believing it to be no

more than teaching tuck pointing or

some other special skill. Through the

efforts of William Morris and his friends,

the Arts and Crafts movement helped

reinforce the role of craftsman as artist

and not merely the skilled imitator. The

SPAB Manifesto speaks out against the

wasted effort of feeble and lifeless

forgery. Much of the best Victorian

‘restoration’ was technically highly

accomplished but uninspired.

For the conventionally trained

craftsmen, historic buildings work can

fly in the face of all that he or she has

been taught about the ‘best’ practice.

To make something new may seem

better than to repair it; to straighten up

an uneven roof may seem preferable to

leaving it distorted; to renew a worn

but sound piece of stone may seem

better than ignoring it.

What is essential is that craft training

inculcates an understanding of

philosophy to enable the craftsman to

make his of her judgement about the

approach to adopt in a particular case

based on much wider issues than simply

the textbook answer. In an ideal world

we believe thatacraftsman’s skill should

depend on thorough training, proper

experience, an understanding of

philosophy, a love of old buildings and

the work of past craftsmen, an

appreciation of beauty, pride in

workmanship, an awareness of other

crafts, and artistic sense. Morris would

of course have added freedom from

industrial society to this list.

Ten years ago the Society helped set

up the William Morris Craft Fellowship

as an advanced training for outstanding

young craftsmen and craftswomen. This

is a six month training programme,

based on the SPAB’s 66 year old

Scholarship scheme, during which the

Fellows travel the country studying on-

site repair methods, the production of

materials, craft techniques and so on.

Its aim is to help craftsmen and

craftswomen widen their knowledge

and understanding of their own craft

and that of others to prepare for them

for supervisory positions in historic

building projects and develop their own

skill. It is run by a Committee chaired

by SirPatrick Cormack MP and is funded

entirely by benefactors. We are

convinced that as the pool of former

Fellows continues to grow there will

be a steady raising of standards and

awareness throughout the industry.

More importantly we hope it wifi raise

the status of craftsmen to the point

where their real skill is valued and

where the building owner is happy to

pay for the quality they will get.

Philip yenning is Secretary of the Society for

the Protection of Ancient Buildings.

Miranda Mason, William Morris Craft Fellow, applying a poultice.

Ockley Icehouse, Surrey. Fellows and Scholars (architects & surveyors) have rescued it and

have been repairing it jointly.

CONTEXT 50

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