Peter Burman

Please describe yourself and your areas of interest.

I have been fortunate to have four professional roles, alternating between major heritage organisations and university posts and they were as follows: Director, Council for the Care of Churches & Cathedrals Fabric Commission for England; Director, Centre for Conservation Studies, University of York, during which time I discovered an abiding research interest in John Ruskin and in architect Philip Webb (1831-1915) who, happily, appreciated one another; Director of Conservation, National Trust for Scotland, an organisation I still have ample opportunity and motivation to support as I live in a beautiful village where one of its most important properties, Falkland Palace, is situated; then I had the opportunity to be Professor of Cultural Heritage Management, attached to World Heritage Studies, at Cottbus, Germany. Like Ruskin, I am a passionate European and it felt like the greatest privilege to be teaching a student community gathered from many nations. I used often to hold tutorials in the Mercedes-Benz Cafe in the Friedrichstrasse in nearby Berlin. Since then I have been freelance way beyond any concept of retirement, which does not interest me at all, e.g. as art historical consultant to a leading company of sculpture conservators and as Arts Adviser to Lincoln Cathedral. I have founded various organisations, e.g. Friends of Christ Church Spitalfields, York Art Workers' Association and The Building Limes Forum. I am doing my best currently to focus more on my writing but I greatly cherish being both a Companion and Director of the Guild of St George with two very special portfolios, International Relations and Craftspeople & Craftsmanship. They have both been life-long passions! Another, related, passion is for beautiful lettering. I have been many years involved with the Art Workers' Guild and a Trustee of the Society for the Protection of Ancient Buildings. I sit on the Fabric Committee of St George's Chapel, Windsor Castle. Churches and Cathedrals are still an important aspect of my life and loves. My companion in life, Ross Burgess, is also a Companion.

Why did you become a Companion of the Guild?

Around 1990 I had the feeling that I could remain sane and happy if I visited at least once a year Brantwood and the church of Brockhampton-by-Ross, 1901, designed by that great Ruskinian, William Richard Lethaby. Of that church the great late Sir Nikolaus Pevsner said that in terms of design and materials it was 'the most important church of that date in any country', and it is indeed extraordinary in its architecture and in the craftsmanship it embodies and contains. I became a member of the committee of the Friends of Brantwood and did my best to attend events including memorable evenings of lectures, poetry or music. I attended a poetry reading by Clive Wilmer around 1995 and he put in my mind the idea that I might join the Guild of St George. After a while I applied for membership, feeling that it would be a channel for playing a part in 'making lives better'; one way of making lives better is through working with art and craftsmanship, artists and craftspeople, and so it has been. I am glad to put the better half of my passion and creativity in the service of the social and artistic paths than Ruskin has mapped out for us.

Web links: en.wikipedia.org/wiki/Peter_Burman, www.peterandross.uk