Chelsea, in the Olden & Present Times

by George Bryan

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.