Chelsea, in the Olden & Present Times

by George Bryan

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.