St. Luke’s Church and the Burial Ground.
It will be necessary before we give a description of this beautiful edifice to state some particulars respecting the Burial Ground, or, more properly speaking, the Cemetery, in the centre of which the Church is erected. The Act of Parliament for providing this additional Burial Ground for the parish was passed in 1810, and certain Trustees therein named were appointed to carry it into effect. They accordingly purchased of Earl Cadogan, the Lord of the Manor, a piece of ground, in the present central situation, containing rather more than four acres, and enclosed it with a substantial wall and strong iron railing.
As I was present at the consecration of this Burial Ground, and also of the Church, a brief account of which I published at the time, the following particulars I can fully authenticate. With respect to many circumstances which I shall mention, in connexion with the Church, they may be relied upon as being accurately stated from my own personal observation.
In November, 1812, the enclosure of the spacious new Burial Ground having been in every respect completed, with a small Chapel erected close to the entrance on the north side, designed exclusively for reading the Funeral Service, on Saturday, the 21st of the above month, the same were consecrated by the Bishop of London, accompanied by his Chaplains, the Chancellor and Registrar of the Diocese, the Hon. and Rev. Dr. Wellesley, rector, the Churchwardens, Trustees, and a large number of the inhabitants.
The preliminary prayers were offered at the Old Church, and the Bishop having declared his assent to the petition presented to him for consecrating the new ground, the procession proceeded from the Church. On their arrival there was an immense assemblage to witness the consecration. The Bishop then perambulated the ground, reading such portions of the Service as is specially appointed, and afterwards completed the consecration in the Chapel.
In the year 1819, an Act of Parliament, 59 Geo. III., cap. 35, May 19, was obtained for building a new Church, and the Rector and Churchwardens, and 59 other inhabitants of the parish, were appointed to carry the same into effect. The central portion of the new Burial Ground was appropriated for this purpose, and on the 12th of October, 1820, the first stone of the new Church was laid by the Hon. and Rev. Dr. Wellesley, as proxy for his brother, the Duke of Wellington, who was prevented from performing the ceremony by receiving “the King’s commands to attend him on public business that day at his palace in Pall Mall.” Many of the vast assemblage of spectators having waited a long time for His Grace’s arrival felt somewhat disappointed, and some of them attributed his absence to the political excitement which prevailed just at that period, but this was far from being the general opinion.
A procession was at last formed in the following order:—His Royal Highness the Duke of York’s Band; the Beadles of the Parish; Mr. James Savage, the architect; the Builder, with a silver trowel on a crimson velvet cushion; the Treasurer, with a metal box and sundry coins, and a brass plate, on a velvet cushion. The Hon. and Rev. Dr. Wellesley, rector, supported by the Churchwardens; the Curates and Lecturer of the Parish, and the Trustees appointed under the Act of Parliament for building the Church.
The service used on similar occasions having been read by the Rector, the box with the coins, and the brass-plate were deposited by the Rector upon the stone prepared for the purpose, which was then lowered down and secured with the customary formalities. The inscription on the stone was as follows:—“This stone was laid on the 12th day of October, A.D., 1820, by Field Marshal His Grace the Duke of Wellington, the Hon. and Rev. Gerald Valerian Wellesley, Rector; Richard Rattenbury and Richard Mann, Churchwardens.” The day was remarkably fine, and the spectacle altogether produced a very imposing effect, notwithstanding the disappointment experienced by the absence of the Duke of Wellington. A spacious amphitheatre was erected for the accommodation of ladies, and the ceremony concluded with a beam of satisfaction on the countenances of nearly all present.
The Church is built of Bath stone, in the Gothic style of the 14th 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.
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.