century, and is approached by a sweep carriage way and flagged footpath.
The west front has an arcade, extending the whole breadth of the
frontage. From the centre of this arcade rises a lofty tower, the upper
part panelled and crowned with an open battlement. It is strengthened at
the four corners by octagonal buttresses, which are finished by
open-worked pinnacles, of a form which gives the exterior of the edifice
a very picturesque appearance, and when seen at a distance is very
attractive. The height from the ground to the top of the pinnacle is 142
feet, and the view from the tower on which these pinnacles rise, affords
a very fine view of the parish and its surrounding scenery. From the
tower, the body of the building is seen to extend, embraced and supported
by its flying buttresses, which stretch their airy fronts from between
the Clerestery windows to the outer wall of the side aisles, when they
are continued solidly down to the ground. The walls of the side aisles
and Clerestery are both finished with perforated parapets of elegant
forms.
At the eastern end, the principal feature is the altar window, 32 ft.
high and 16 ft. wide, divided by mullions into seven bays in width, and
four stories in height, exclusive of the pointed arched head, which has a
beautiful wheel centre. This end has also two octagonal turrets, the
upper stories of which are ornamented with open-worked panels and
crocketted domes. There are also two porches communicating with lobbies
and staircase, to afford the most ample entrance and exit. In the middle
part, and below the great window, the Vestry Room is projected.
On the flanks the buttresses project about six feet, and their
extremities are connected by a dwarf wall, which defends an open area,
giving light and air to the crypt under the Church. The unbroken line of
this wall makes a solid base for the whole building, which gets lighter
and lighter as it ascends to the top, where numerous feathery pinnacles
impart softness and richness to the extremity that meets the sky.
* * * * *
From the great western arcade you enter by three sets of folding doors to
the vestibule, at the sides of which are placed the principal staircases
to the galleries. The principal or middle aisle of the Church is entered
from the centre of the entrance lobby by lofty folding doors, glazed with
plate glass, and as there is no western gallery to project before these
doors you have at once the full effect of the interior. In this Church,
unlike most others, the western gallery is obtained by a recess over the
vestibule, and is principally occupied by a splendid organ by Nicholls,
comprising the great organ, choir organ, and swell organ, containing
thirty-three stops and 1876 pipes. The organ is considered one of the
finest and most powerful in London. The bellows, when charged, contains
70 cubic feet of wind. {128} The King’s Arms, placed in front of the
organ, is executed in a solid piece of mahogany, and is a masterly
production.
* * * * *
The inside of the Church is 130 feet long, and 61 feet wide, divided into
a nave and two side aisles, separated by clustered columns and pointed
arches. The small column in front of the cluster continues up to the
vaulted ceiling, and there branches out into numerous ribs, which spread
their airy lines in the most graceful manner over the ceiling, tied
together at their numerous intersections by carved pendant bosses, the
principal light being from the clerestery windows gives an aerial effect
to the ceiling, which hardly appears to belong to “mid earth,” although
actually built of solid stone, whose power of gravitation appears here to
be suspended by the magic of art, of which this is said to be the only
instance of the kind attempted for the last 300 years. From the pavement
to the crown of the vault is 60 ft., clear height, a greater height than
is to be found in any edifice in London, excepting St. Paul’s Cathedral
and Westminster Abbey. The lofty position of the windows diffuses a
clear and calm light throughout. The church was for some years lighted
by oil-lamps in the three really magnificent chandeliers, but for a long
time gas has been very judiciously substituted.
* * * * *
A circumstance occurred in reference to these massive and splendid
central chandeliers, at nearly the conclusion of one of the Sunday
Evening Services, which occasioned great excitement amongst the
congregation, and it was feared at the time would be attended with loss
of life, but fortunately only one elderly person was seriously injured.
These chandeliers were obliged to be lowered by means of a windlass, and
men from the contractor for lighting the church, by oil-lamps, had to
attend and lower them both before and after Divine Service, in the first
instance for the purpose of lighting, and secondly to extinguish the
lights. It was the practice of these men, who came from London, and were
anxious to return home as soon as possible, to lower the weighty
chandeliers on a certain signal being given to them at the belfry door,
as soon as the organist commenced “playing the congregation out,” but on
this occasion it was a sermon in aid of a charity, and the organ was only
played previous to the singing of a hymn while the collection was being
made. This caused the mistake. Some of the congregation in the
galleries, perceiving that one of the chandeliers was unsteady and slowly
descending, rushed forward to make their exit, which created great
confusion and alarm, the result being the accident previously mentioned.
The Hon. and Rev. Dr. Wellesley, rector, being present, although not
officiating, immediately explained the circumstances, and soon afterwards
the alarm was allayed and the service concluded. The lighting of these
oil-lamps was attended with great expense and much labour. A
considerable saving is now effected by the introduction of gas, labour on
the Sunday is lessened, and the dirt occasioned by the trimming of the
lamps altogether obviated.
* * * * *
The galleries, south and north, are well constructed. There is breadth
of surface and simplicity of outline throughout. From some positions the
columns of the nave, which impart such a grandeur to the entire interior,
impedes the view of the preacher, even from the northern gallery, but
this is unavoidable in Gothic architecture.
* * * * *
At the eastern end, the great window, 32 ft. high, and 16 ft. wide, is a
most conspicuous feature. The bottom of the window, being 22 ft. from
the pavement, affords ample space for the altar-piece, which is designed
in the manner of a Gothic shrine or screen.
* * * * *
The altar, or communion, is ascended by three steps, and is enclosed by a
Gothic railing. The chairs and stools are designed in character, and are
good specimens of wood carving; they were executed by Mr. Relph, from the
designs of the architect.
* * * * *
The altar-piece is “The Entombing of Christ,” by Northcote. It had been
previously exhibited at the British Institution, Pall Mall.
* * * * *
For some years after the church was completed the large eastern window
was glazed simply with plain glass, as will be seen from the following
Vestry Minute, dated April 24, 1823:—“It is the opinion of this Vestry
that it would be expedient to have a stained-glass window at the east
end, &c., and that the money necessary for the same be attempted to be
raised by voluntary subscriptions.” This effort proved unsuccessful, and
on the 29th of August, in the same year, Thomas Bryan, Esq., of. Cadogan
Place, transmitted the following letter to a subsequent Vestry meeting:
“Since I had the honour of being appointed treasurer for the purpose of
receiving voluntary contributions for the purchase of a stained-glass
window, I beg to announce that I have not received any money but what has
been duly returned to the parties.” This great defect has since been
remedied, and a very handsome and appropriate stained-glass window,
representing the apostles, &c., now adds materially to the beautiful
appearance of the interior of the church.
* * * * *
The vestry is a large room, 28 ft. square, and is finished in character
with the general style of the building. For some years the meetings of
the parishioners were held in it. The proceedings on some occasions were
very noisome, and as they frequently took place on Wednesday mornings, or
on special days for prayer, there was at times such an interruption as
rendered it impossible for the clergyman to proceed. The Act of
Parliament since passed, and the erection of the Vestry Hall, in the
King’s Road, have happily for ever removed that cause of complaint. In
this vestry room, at the church, there is an exceedingly good portrait of
Mr. Flood, an oil painting, in a large and handsome frame. It is an
admirable likeness.
* * * * *
The following is another description of the interior of this edifice,
written by a gentleman who has favoured the public with an accurate
detail of most of the modern Churches erected some few years since in the
vicinity of London. It will be seen that this account, as regards some
of the architectural particulars, supplies several deficiencies in the
preceding description, while at the same time there are inserted in the
former many interesting details which could not possibly be included in a
second notice of the interior of the church.
* * * * *
At the west end is a vestibule, extending across the whole building, and
occupying the space beneath the organ gallery and staircase. This is
separated from the church by a fine stone screen, consisting of a large
pointed arch, flanked by square open buttresses, and ornamented above
with a range of upright divisions, finished with a blank cornice; in the
centre is a bow, or projection in the corbel style, in the front of which
is a dial. The doorway is formed of carved oak, representing tracery
work and mullions, the upper part of the panelling being pierced and
glazed. Above this screen is the organ, in a carved oak case, the design
of which is an assemblage of three towers, with pinnacles at the angles,
and united by flying buttresses, the wood work ornamented with upright
arched panels.
* * * * *
On each side of the church are seven arches, resting upon six octangular
columns, to each of which four small pillars are attached, an additional
one being placed upon the capitals of those which are situated towards
the body of the church, and carried up towards the vaulting. At each of
the extreme ends of the arcade a semi column is attached to the walls, to
complete the number necessary for sustaining the arches. The main
pillars and arches are ornamented with a simple ogee moulding. The
aisles are occupied by galleries that hide the lower divisions of the
windows, which are only seen externally, no light being admitted below
the galleries through the outer walls. Between the clerestery windows
and the arcades below is the metzonine story, fronted by four cinque-foil
headed arches, and finished with a cornice of roses in enriched quatre
foils, designed as in imitation of the ancient trifolium.
* * * * *
The eastern window does not fill up the entire wall as we find in all
ancient buildings, but a considerable portion of plain masonry is left
round it. The space below is occupied by a splendid stone altar-screen
of a beautiful antique design. It consists of five upright divisions,
formed by the buttresses, the central being the width of two of the
others; they are covered by ogee arches, with cinque foil sweeps in each,
the centre one having a canopy of the same sort, but more highly enriched
with a greater number of sweeps. From the canopies rises a series of
upright divisions, with trefoil heads; and above is an entablature; the
frieze of foliage in alto relievo; the cornice of various mouldings, and
the whole is fronted by seven demi angels, in ancient costume, crowned;
one hand of each is placed on the breast, the other held up in the
attitude of benediction. The screen is flanked on each side by a
magnificent composition of niche work, ranging above two small doorways
leading to the vestry, the arches of which are obtuse, and the
architraves entirely formed of mouldings. Above the point of the arch of
each door case is an hexagonal canopy, highly enriched, and supporting
the pedestal of a large and similarly formed niche above it, crowned with
a like canopy, which rises above the rest of the screen, and occupies a
portion of the wall on each side of the window. The pierced stonework,
elegant buttresses, and minute pinnacles of this elegant composition,
form an assemblage of architectural ornament which would not disgrace any
age in which the pointed style prevailed; the scale of grandeur in which
they are executed, and the general tastefulness that marks the design,
together with the correct style of the elaborate details, would do honour
to a cathedral.
* * * * *
The centre division of the church is roofed with stone from east to west.
The style of vaulting is, however, full two centuries earlier than the
building: the nave of Westminster Abbey seems to have been the prototype.
That part of the roof immediately above the altar is groined in a
different manner, the surface of the cove being filled with long panels
separated by arched ribs, springing from corbels, and crossing the church
from side to side; the same is repeated above the organ; the corbels are
all sculptured with figures of angels, which at the altar are represented
in the act of prayer, and over the organ appear to be chanting the hymn
of praise; though these portions are well executed, the conceit of
varying the design is too novel to be admired.
From the groined roof depend three elegant brass chandeliers, suspended
on gilt chains.
The pulpit of wainscot is octangular, and stands on a frame work of
pointed arches; it is not wanting in ornament but it falls short of the
ancient oak carvings. The reading desk, also of wainscot, which is
situated on the opposite side of the nave, is similar in design. The
fronts of the galleries are set off with panelling, having cinque-foil
heads; but wanting that boldness of relief which distinguishes the
ancient specimens of carved wood work; to the altar chairs, the same
remark applies.
* * * * *
The font is situated in the centre aisle, near to the pulpit and reading
desk; it is of an octangular form, and sustained on a pillar of the same
shape. The different sides are panelled, each containing a shield in an
enriched quatrefoil, and the pillar is ornamented with upright panels.
It is executed in marble, and the carving appears to be highly deserving
of praise.
* * * * *
Within the last few months there has been placed in the church a lectern,
which corresponds with the general character of the edifice.
* * * * *
The entire edifice is highly creditable to the parish, and may be
considered as a lasting monument to the memory of Mr. James Savage, the
architect.
* * * * *
The crypt or vaults under the church are well worthy of inspection. They
are conveniently approached, on the north side, by a flight of steps, and
are lofty, light, and thoroughly ventilated. Here may be seen the
foundation of the tower, which is an inverted dome, and all the columns
of the nave are likewise built on and connected by inverted arches. No
doubt the construction of these numerous vaults added considerably to the
aggregate cost of the edifice, and when interments were prohibited in the
metropolitan parishes the anticipated return was at once stopped, still
they strengthen the entire fabric, and ensure a freedom from damp, which
is most desirable. In several of these vaults are deposited the remains
of some of the most respected parishioners.
The fees for burials in the vaults were as follow:—
Single Coffin. Parishioner. Non-Parishioner.
An Adult £13 0 0 £19 10 0
Children, 7 to 14 yrs. 8 0 0 12 0 0
„ under 7 yrs. 5 10 0 8 5 0
None but leaden coffins, enclosed in wood, were allowed to be deposited
in the vaults, nor of less thickness than 5 lb. to a foot superficial.
Length from East to West of the body of the 130 ft.
Church, including the recess of the altar and
organ gallery, in the clear of the walls inside
Length of Side Aisles, in the clear inside 108 ft.
Breadth from North to South 61 ft.
Breadth of the Nave 27 ft. 5½ in.
Height of the Nave, inside 60 ft.
Height of the Side Aisles, inside 31 ft. 9 in.
Whole length outside from East to West, including 186 ft. 10½ in.
Tower and Vestry
Height from the ground to the top of the pinnacle 142 ft.
There are ten bells, which were cast at Mr. Mears’s Foundry,
Whitechapel:—
The weight of the first 6 cwt. 1 qr. 8 lb.
„ „ second 6 cwt. 1 qr. 18 lb.
„ „ third 6 cwt. 3 qr.
„ „ fourth 7 cwt. 16 lb.
„ „ fifth 7 cwt. 2 qr. 9 lb.
„ „ sixth 8 cwt. 2 qr. 9 lb.
„ „ seventh 10 cwt. 3 qrs. 19 lb.
„ „ eighth 12 cwt. 1 qr. 11 lb.
„ „ ninth 15 cwt. 3 qrs. 14 lb.
„ „ tenth 23 cwt. 9 lb.
The church was consecrated on the 18th of October, 1824, and as the
foundation stone was laid on the 12th of October, 1820, the building of
the edifice occupied about four years.
MONUMENTAL INSCRIPTIONS IN THE CHURCH.
There are many neat and well-designed marble tablets placed on the walls
in different parts of the church, and one monument in particular which
will be specially noticed. It would have afforded me great satisfaction
to have transcribed all the tributes of affection there recorded, and
also those in the Burial Ground, but the limited nature of this work
would only admit of noticing a few of them. By adopting this course it
will enable me to refer to a variety of interesting subjects, which
otherwise in all probability must have been omitted.
The monument, to which allusion has just been made, commemorates a hero
who distinguished himself during the Peninsular war:—
To the Memory of
Lieutenant-Colonel the Honourable Henry Cadogan,
of his Majesty’s 71st Regiment,
who fell in the Battle of Vittoria, on June 1st, 1813,
in the 33rd year of his age.
The Officers of his Regiment have erected this Monument,
In token of their esteem and regret.
This beautiful production of the chisel of Chantrey, which is placed in
the north gallery, represents two soldiers lamenting the death of their
heroic commander, whose portrait is on a medallion surrounded with flags,
with the Imperial eagle of France underneath; the letter “N.” is on the
top of the pillar which supports the eagle. On the pedestal which
supports the sarcophagus is the word “VITTORIA,” encircled with a
laurelled crown; the sarcophagus is ornamented with a guilloche moulding.
Chastity of design and delicacy of execution are the special
characteristics of this admirable specimen of art. There is another
monument to the memory of this gallant officer, erected at the public
expense, in St. Paul’s Cathedral, and also a third in the Cathedral of
Glasgow.
* * * * *
During the battle Colonel Cadogan had been detached to an important
position; and when it was discovered that he had been mortally wounded,
it was proposed to take him off the field. “No,” said he, “my death is
now certain, and very near; suffer me to conclude my life with the
pleasure of seeing the continuation of our triumph; carry me to an
height, from whence I can observe it.” He was carried to one, when his
back was placed against a tree, and there he expired, after expressing
his gratitude to those around him.
* * * * *
In a vault near this spot lies the remains of the Right Hon. Charles
Henry Cadogan, Earl Cadogan, Viscount Chelsea, in the county of
Middlesex, Baron Cadogan, of Oakley, in the county of Buckingham. Born
17th Nov. 1749, and died on the 23rd Dec. 1832.
Honoria Louisa Countess Cadogan, died September 12, 1845, aged 58.
Sophia Lucy Cadogan, wife of Lieut.-Col. Hon. Geo. Cadogan, Grenadier
Guards. Born March 5, 1812; died Jan. 26, 1852.
Sacred to the Memory of
Admiral the Right Honourable George Earl Cadogan,
Companion of the Most Honourable Order of the Bath,
Knight of the Imperial Order of Maria Theresa, of Austria.
Born May 5, 1783: died Sept. 15, 1864.
* * * * *
There are inscriptions on marble tablets to the memory of the following
respected parishioners, amongst some others:—
General Wilford, who resided for many years at Ranelagh, departed
this life in 1822, aged 69.
Mr. William Terwin, died Feb. 24, 1826, in the 74th year of his age.
Also, his brother, Mr. John Terwin, died Jan. 8, 1827, in his 69th
year.
Joseph How, Esq., of Swan Walk, Paradise Row, (Queen’s Road West,)
died in 1825, aged 72. He was much respected.
Mrs. Elizabeth Smith, widow of T. Smith, Esq., of No. 1, Manor
Terrace (now No. 167, King’s Road), who, by will, in 1828, bequeathed
£500 three per cent. consols, to be expended annually as specified
therein.
Thomas Bryan, Esq., of Cadogan Place, a magistrate for the county,
died in 1830, aged 66. He was much respected, and was for some time
treasurer of the Parochial Schools, and ever ready to promote a
charitable object.
G. H. Hopkinson, Esq., died in the year 1829, and Charles Hopkinson,
Esq., in 1830 (banker), resided in Cadogan Place for many years.
R. E. N. Lee, Esq., resided for many years in Cheyne Walk, and died
in 1833. For 18 years he was Steward of the Manor.
Richard Harmer, Esq., of Sloane Street, died in 1840, aged 80 years.
He was benevolent, and his death was much deplored by many of the
tradesmen in the locality.
The Rev. G. Clark, M.A., chaplain at the Royal Military Asylum, a
clergyman universally esteemed, died in 1848.
Peter Burrard, Esq., of Rayner Place, departed this life in 1842. He
was a captain in Queen Charlotte’s Chelsea Volunteers, served the
office of churchwarden, and was greatly esteemed by a large number of
the parishioners.
Luke Thomas Flood, Esq., was a magistrate for the county, and for a
great number of years treasurer of the Parochial Schools. There is a
marble monument to his memory, near to the vestry door, in the
church, which is a fine specimen of the sculptor’s art. His
munificent annual gifts to the deserving and aged poor parishioners,
however, is a memorial of greater value than the most costly
monument. He died at Brighton, in 1860, at a very advanced age.
The Rev. Charles Kingsley, M.A., the late rector, and father of the
Rev. C. Kingsley, the popular author, died in 1860, aged 78. A
notice of this kind-hearted clergyman is given in the brief record of
the Rectors of this church.
COST OF BUILDING THE CHURCH, &c.
The original sum for the building of the Church, as agreed to at a Public
Vestry, held on the 20th of August, 1818, was not to exceed in all
£30,000, including every other advance that may be made from the
Commissioners of Churches, and others. The interest of this sum,
together with the principal, was to be paid out of a church rate, and the
rate for this purpose was not to exceed one shilling in the pound. {137}
From a statement I possess, shewing the various amounts received and paid
by the Trustees for building the church, and including the charges for
constructing a sewer from it to the river Thames, from the 21st of July,
1819, to the 27th of October, 1824, it appears that the total sum
expended to that period was £34,716 14s. 3d. This amount includes £2,020
paid for the sewer, and £3,595 for interest on annuities, up to the time
of the above statement. The entire cost of building the church, &c., is
generally estimated as being rather more than £40,000. It is calculated
that it will very well accommodate 2,000 persons.
* * * * *
There was a petition signed against the New Church Bill, in which it was
acknowledged that there was a total inadequacy of church accommodation in
the parish—the population of which the petitioners stated to be 20,000
souls—but they submitted that “it would be better to erect two chapels,
capable of holding 1,500 persons each, one to be situated at each
extremity of the parish, which might be done for one half the church
would cost.” Dr. Anthony Todd Thomson, of Sloane Street, who was one of
the most able speakers in the parish, most powerfully advocated the
erection of two chapels, but the opposition entirely failed.
RECTORS AT THE NEW ST. LUKE’S CHURCH.
In the account of the Old Church a list of the Rectors connected with
that ancient edifice was given, we will now refer to those since the
completion of the new Parish Church.