The church of St. Bartholomew the Great, West Smithfield,
which
consists of the choir and transepts of the church of the Priory of St.
Bartholomew, is the oldest parochial church now standing in London. It
is likewise one of the most interesting ecclesiastical buildings in the
metropolis, or indeed in all England; it is interesting on account of
the antiquity of its foundation; on account of the legend connected
therewith; and on account of the great quantity of original work yet
remaining.
The founder of the Priory of St. Bartholomew was Rahere, a courtier of
King Henry I., who by reason of his wit and liveliness had acquired the
special favour of his sovereign. About the year 1120 Rahere went on a
pilgrimage to Rome, and while he was there he was striken with a fever;
in the course of this illness, it is said, he saw a vision of St.
Bartholomew, which so much affected him that he resolved to turn his
back upon his former light life, and devote himself for the future to
religious and charitable avocations. On his return to England he
applied for assistance to the Bishop of London, through whose influence
he was enabled to found in 1123 the Hospital and Priory of St.
Bartholomew, of which he himself became the first prior.
In 1133 Rahere obtained from Henry I., who took a deep interest in his
pious designs, a charter of privileges, which was witnessed by several
of the most distinguished men of that period, both lay and
ecclesiastical. Ten years later Rahere died, but Augustinian Canons,
commonly called "Black" Canons, from their black cloaks and hoods -- to
which order the founder had belonged -- continued to inhabit the priory
until the dissolution of monasteries by Henry VIII. In 1546 the king
sold the priory to Sir Richard Rich, his attorney-general, with the
exception of the choir and transepts of the church, which he granted to
the parishioners.
St. Bartholomew's is unfortunately hemmed in by a network of small
streets and houses, and the entrance from West Smithfield may easily be
missed. It is, however, well worthy of notice, being a pointed Early
English arch of considerable elegance, embellished with dog-toothed
ornamentation. In monastic times the nave, built in the Early English
style, extended to the gateway, which separated the sacred buildings
from the outer world; now, after passing through the arch, we go along
a narrow passage, across a foot thoroughfare, into the churchyard,
whence we gain admission into the church itself by the west door, which
is situated at the base of the tower. The exterior was once conspicuous
by its fine central tower flanked by two turrets; but these were
demolished in 1628, when the present brick tower was built. This tower
was somewhat altered early in the present century, but there is nothing
very striking about it. It contains, however, five of the oldest bells
in London, dating from before 1510, and dedicated respectively to St.
Bartholomew, St. Katherine, St. Anne, St. John Baptist, and St. Peter.
The internal length of the church is rather over 130 feet, and its
breadth is 57 feet. The organ stands at the west end, and eastward from
the organ-screen rise the central tower arches, which are in their turn
succeeded by five bays, the whole terminating in an apse; which all
around runs an ambulatory, which passes behind the altar. On entering,
the eye is instantly rivetted on the grand old Norman work, as it
stands out in its solid simplicity; particularly beautiful is the
prospect of the south aisle, as one gazes through the colonnade of
majestic arches. Although subsequent styles of architecture are also
represented, the main part of St. Bartholomew's is Norman, and its
dignified and venerable aspect equally attracts the admiration of the
artist and furnishes food for the reflections of the antiquary and the
historian.
The Norman and transitional Norman work was executed by Rahere and his
immediate successor, Thomas of St. Osyth, prior from 1145 to 1174.
Rahere had presided over the building of the eastern bays of the choir,
and the tower was most probably completed before the death of Thomas.
During the next half century were added the Early English columns at
the south-west, and, in all likelihood, the nave, which was destroyed
after the dissolution of monasteries, and the entrance gateway from
Smithfield already described. In the Perpendicular style are the
clerestory of the choir, above, and in marked contrast with, the Norman
triforium, the three side chapels of the north ambulatory, the corbels
of the west tower arch, and the Lady Chapel, which was appended at the
east of the church. But the most striking innovation introduced during
the prevalence of this mode of architecture was the pullling down,
early in the fifteenth century, of the upper part of the Norman apse,
out of the materials of which a wall was constructed, thus rendering
the eastern termination of the church square instead of, as heretofore,
round. The chief object of this alteration seems to have been to insert
two large east windows filled with stained glass, fragments of the
tracery of which have been brought to light in the progress of the
restoration of the church, and may be seen carefully preserved in the
north triforium. Prior Bolton, who held sway from 1506 to 1532, built
in the south triforium a projecting bay window, probably for the
purpose of watching the founder's tomb, which is situated on the
opposite side. On the middle panel below the window is carved his
well-known rebus, a bolt passing through a tun, which also occurs on
another piece of his work, the choir vestry door at the south-east.
During the first half of the present century St. Bartholomew's had
fallen into a very dilapidated state, and in 1864 the work of
restoration was commenced. A portion of the east wall was taken away,
and a new apse was erected in exact imitation of the original one, thus
restoring to the eastern end of the church its pristine appearance. The
architect who designed this important improvement is Mr. Aston Webb, to
whom also is due the flat oak ceiling of the tower, erected in 1886,
and the restoration of the south transept, to which he has added a
central door, first opened for use by the Bishop of London, March 14th,
1891. In fact, all Mr. Webb's work in connection with St. Bartholomew's
has been most happily designed and equally happily executed.
The restoration has been carried on at intervals, as far as funds have
permitted, up to the present time, and is not yet entirely completed, a
large sum being still needed. The encroachments of surrounding
buildings have proved a source of much trouble and expense. A portion
of a fringe factory projected into the church at the east, and was not
finally removed till 1886, when it was purchased at a cost of over
£6,000 by the Rev. F. P. Phillips, the patron of the living,
who
also defrayed the charges of the erection of the new apse, in memory of
his uncle, the Rev. John Abbis, for sixty-four years rector of the
parish. The north transept was actually occupied by a blacksmith's
forge, but this also has been removed, and the north porch, opening out
into Cloth Fair, has been completed and adorned with a figure of the
patron saint. The wall of the west front, which was built out of the
ruins of the nave, when the choir was first used for parochial
purposes, has been newly faced with flint and stone. The south side of
the stone screen below the great arch at the entrance of the north
transept has had to be refaced, although the face on the north side
remains in good preservation. A new case for the organ has been
supplied by Mr. H. T. Withers in memory of his brother, the late F. J.
Withers, and a new pulpit has been set up out of a legacy from Mrs.
Charlotte Hart, who was for forty-one years sextoness, and who
bequeathed at her death £600 to the Restoration Fund. The
Rev. F.
P. Phillips, in addition to his other acts of munificence, has also
presented the handsome oak stalls, and the mosaic pavement on which
stands the wooden altar, which is itself likewise a gift to the church.
On June 4th, 1893, the new works were inaugurated and dedicated by a
special service conducted by the Archbishop of Canterbury, who
delivered on the occasion a most interesting sermon upon Rahere's twin
foundations, the church and hospital of St. Bartholomew's. This service
was attended by the Prince and Princess of Wales and many other
distinguished personages, and it was hoped that the presence of the
royal family, and the publicity thus obtained for the work, would be
instrumental in procuring a large increase in subscriptions for the
restoration. This very natural expectation has unfortunately not as yet
been realized. On the contrary, subscriptions have lately shown a
decided falling off, as people seem to have taken it into their heads
that the royal visit marked the culmination of the whole matter, and
that nothing else is left to be done -- a most erroneous notion, since
about £3,000 is still requisite in order that the Lady Chapel
and
the crypt may be put in a thorough state of repair.
The Lady Chapel, which was built early in the fifteenth century, is
about 60 feet long by 26 feet wide. Access is gained to it from the
main building through a door in the temporary brick east wall of the
church, and down a flight of wooden steps. It is in a somewhat ruinous
condition, but a portion of the windows in the north wall remain, and
on the outside the original buttresses of the south wall are still in
existence. Until lately the Lady Chapel was used as a sort of museum
for fragments of old work discovered during the repairs, which form a
large and interesting collection; but these have now been removed to
the north triforium, and it is intended that, as soon as the
restoration is completed, the Lady Chapel shall be utilized for
parochial purposes.
The crypt is situated beneath the eastern part of the Lady Chapel. It
was vaulted by arches of a single span of 22 feet, and lighted by
deeply splayed unglazed windows. A considerable portion of it has been
excavated, and it will probably be opened some time in the spring of
1895. It has been proposed to devote it to the purposes of a mortuary
chapel, now greatly needed in the district -- an object which the old
crypt would admirably serve.
There are also some remnants of the cloister still existing, but in a
stable, and the entrance door beyond the south transept has been
blocked up by the pressure of the adjacent tenements.
St. Bartholomew's contains a number of interesting monuments. The one
which pre-eminently attracts attention is naturally that of the
founder, which is placed on the north side of the church within the
communion rails, in the last bay before that which marked the
commencement of the original apse. The tomb is surmounted by the
recumbent effigy of the great prior, and overshadowed by a rich vaulted
canopy, the work of an artist of the fifteenth century. The effigy
itself is, however, considered by the most competent judges to belong
to the original monument, and it seems most probable that it was carved
under the direction of Rahere's immediate successor, Thomas of St.
Osyth. Rahere is represented in the robes of his order, with his head
shaved after the monkish fashion; an angel is placed at his feet, and
at each side of him kneels a monk. Feeling no doubt that his church and
hospital were his truest and noblest monument, the brethren inscribed
no pompous eulogy on the gravestone of their departed chief. His
epitaph runs simply thus:
"Hic jacet Raherus primus
canonicus et primus prior hujus ecclesiae."
Some twenty years back the tomb was opened, and the skeleton of Rahere
was found within it, together with a portion of a sandal, which may be
seen among other curiosities enclosed in a glass case in the north
transept.
Of the more modern monuments that which excites the most interest is
the tomb in the south aisle of Sir Walter Mildmay (died 1589) and Mary
his wife (died 1576). Sir Walter, who resided in the precincts, was one
of Queen Elizabeth's ablest statesmen. He filled, with credit to
himself and advantage to the country the offices of Chancellor and
Under-Treasurer of the Exchequer, but he is now better remembered as
the founder of Emmanuel College, Cambridge. Sir Walter's tomb is
constructed in three stories crowned by an urn; it is bedecked with
marble panelling and gilded mouldings, and bears six shields emblazoned
with coats of arms. There are no figures on the tomb, and the Latin
inscription after the text, "Death is gain to us," sets simply forth
the names of the knight and his lady, the respective dates of their
decease, the number of their family, the offices of state which he
held, and the fact that he founded Emmanuel College, Cambridge. This
careful avoidance of parade and panegyric may be accounted for from the
Puritan character of Sir Walter's religious views. The original
position of the monument was in the arch opposite the tomb of Rahere;
but it was removed in 1865, and placed in its present position further
west. In 1870 it was repaired and put generally in order by Mr. H. B.
Mildmay, one of Sir Walter's descendants. The Master and Fellows of
Emmanuel College subscribed literally to the restoration fund of St.
Bartholomew's, as a tribute of respect to the memory of their
illustrious founder.
The south ambulatory, drawn by Leonard Martin after a
watercolour painting by W. Harding Smith, R.B.A. The Mildmay monument
dominates the left half of the illustration, page 44 of Daniell's
chapter on St. Bartholomew's.
The remaining monuments commemorate persons of less
importance. On
the north wall, above the pulpit, and beneath the corbel table of the
tower arch, is a figure of Sir Robert Chamberlayne, clothed in his
armour, and in an attitude of prayer. Above his head is a canopy
supported by four angels, and surmounted by his arms and crest. We
learn from a long Latin inscription that this knight was a great
traveller, who had visited the Holy Land, and that he perished between
Tripoli and Cyprus, in the year 1615, at the age of thirty-five. His
memorial, which was composed of white alabaster, is finely executed,
but it has been painted black; and a similar fate has befallen the
outstretched hands, immediately opposite, of Percival Smalpace and his
wife, made out of brown marble, and erected in 1588.
On the south wall, to the west of Prior Bolton's door, but east of the
tomb of Sir Walter Mildmay, is a monument to James Rivers, who died in
1641. He was great-grandson to Sir John Rivers, Lord Mayor of London in
1573. The monument consists of a half-length figure, holding a book in
one hand and an hourglass in the other, and covered with a canopy
supported by pillars, and ornamented with the arms of the deceased. It
is probably the work of Hubert Le Sœur, the sculptor of the
statue of Charles I. at Charing Cross. Le Sœur was a French
artist, who was settled in England as early as 1630. He lived close by
in Bartholomew Close, and is believed to have been buried in the church.
Next to the tomb of Rivers is a half-length figure of Edward Cooke,
also sheltered by a canopy, and also holding a volume. This gentleman,
we are informed by a Latin inscription, was a learned philosopher and a
physician of repute, who died in 1652 at the age of thirty-two. His
epitaph concludes with four English lines:
"Unsluice your briny floods, what! can ye keepe
Your eyes from teares and see the marble weepe
Burst out for shame or if yee find noe vent
For tears, yet stay, and see the stones relent.
Cooke's monument is composed of a soft kind of marble, known as
"weeping marble," from its tendency to break out with drops of
moisture. It requires, however, a damp atmosphere to enable it to
perform this function. In the old days before the restoration of the
church, when the wet dripped down through the roof so copiously, that
one Sunday morning the rector was constrained to put up his umbrella
while delivering his sermon, the marble wept abundantly; but now that
the edifice has been rendered watertight, and the pipes of a heating
apparatus have been place just underneath them, "the stones relent" no
more.
West of Sir Walter Mildmay's tomb is a tablet bearing a quaint, but
touching, and not unpoetical inscription:
Captn John Millet Mariner 1660.
Many a storm and tempest past
Here hee hath quiet anchor cast
Desirous hither to resort
Because this Parish was the Port
Whence his wide soul set forth and where
His father's bones intrusted are.
The Turkey and the Indian trade;
Advantage by his dangers made;
Till a convenient fortune found,
His honesty and labours crown'd.
A just faire dealer he was knowne,
And his estate was all his owne
Of which hee had a heart to spare
To freindshipp and the poore a share.
And when to time his period fell
Left his kind wife and children well
Who least his vertues dye unknowne
Committ his memory to this stone.
Obiit anno aetatis 59 Anno domini
1660 Decembris 12.
Beyond the side chapels of the north aisle is the sacristy, in which
the eastern portion of which may be observed a marble tablet, adorned
with pillars, and resting on a base carved in the form of six books, to
the memory of Thomas Roycroft, honourably known as the printer of the
Polyglot Bible, which gives versions of the Scriptures in the Hebrew,
Latin, Greek, Chaldean, Arabic, Samaritan, Syriac, Persian, and
Ethiopic languages. Roycroft had a printing-press in Bartholomew Close,
and was engaged with this great work from 1653 till after the
Restoration of Charles II. In 1675 he was elected Master of the
Stationers' Company; he died in 1677. The memorial to him was erected
by his only son, Samuel Roycroft, who, at his death in 1712, left some
funds for the relief of the poor of the parish, which are still
annually distributed.
In the south transept is the effigy, removed from the wall of the south
aisle, of Mrs. Elizabeth Freshwater, who died in 1617, and is described
as the "late wife of Thomas Freshwater of Henbridge, in the County of
Essex, Esquire," and the "eldest daughter of John Orme of this Parish,
Gentleman, and Mary his wife." She is represented kneeling at a small
altar, with her hair arranged after the fashion then in vogue, and her
neck encircled with the large ruff characteristic of the period.
In the north aisle a marble tablet records the death of John Whiting,
1681, and Margaret, his wire, 1680. The conclusion of the epitaph is
quaint:
"She first deceased, Hee for a little Tryd
To live without her, likd it not and dyd."
Another and more ornate tablet, not far from the monument of Sir Robert
Chamberlayne, commemorates John Whiting, son of this John and Margaret
Whiting, who was an active and highly-esteemed official of the Ordnance
Department from the time of Charles II. to that of Queen Anne. At his
death, in 1704, he left a sum of money to the parish for educational
purposes, which is still applied in accordance with his wishes. The
schools which were established under his bequest are situated on the
south side of the Lady Chapel, and the foundation stone of the present
building was laid by the Duchess of Albany on July 5th, 1888.
East of Prior Bolton's door is a tablet to several members of the
Master family, amongst whom is Ann, the wife of Richard Master,
"Daughter of Sir James Oxenden of Dean in the Parish of Wingham in the
County of Kent, by whom the said Richard Master had twelve Sons and
eight Daughters. She died Jan. 30th 1705 Aged 99 years and six months
and lies interred in this place."
Of her grandson, Streynsham Master, who died in 1724, it is recorded:
"The said Streynsham Master Commanded several ships in the Royal Navy
and did in the year 1718 particularly distinguish himself in the
Engagement against the Spaniards on the Coast of Sicily; by forcing the
Spanish Admiral in Chief to surrender to him."
In the north aisle, west of the tablet to John and Margaret Whiting, a
very elegant brass has been inserted in the floor, with an inscription
stating that it was placed there on St. Bartholomew's Day, 1893, by the
old pupils of Witton Grammar School, Northwich, as a memorial to Sir
John Deane, the first rector of St. Bartholomew's after the dissolution
of monasteries, who founded that school in 1557.
To the western wall of the same aisle is affixed a plain marble tablet
inscribed:
"In
memory of Mrs. Mary Wheeler
Died October 31st 1844
and of
Mr. Daniel Wheeler
Died 17th July 1834
Aged 84 years
65 years of this parish
this stone is inscribed by
their granddaughter
Charlotte
Hart, 1866."
(Photo by tbird, October 2004)
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Immediately below is a brass plate:
"In memory of Charlotte Hart
41 years Sextoness of this Church
Born 1815 Died April 3, 1891. She left
a large sum towards the Restoration
Fund of this Church for the erection
of a pulpit and other benefactions."
(Photo by tbird, October 2004) |
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The font which stands in the south transept is stated by tradition to
be the identical font in which were baptized William Hogarth, November
28th, 1697, and his sisters -- Mary, November, 1699, and Anne, 1701.
The great painter continued in after life to take an interest in the
neighbourhood where his father had resided, and where he had himself
been born. On the rebuilding of St. Bartholomew's Hospital, he
gratuitously embellished the grand staircase with six paintings, the
subjects of which include Rahere's dream, and Rahere laying the
foundation stone, while a sick man is being borne on a bier attended by
monks. As an acknowledgement of this act of generosity, Hogarth was
created a life-governor of the hospital.
The churchyard contains no tombs of particular interest, but every Good
Friday it is the scene of a curious ceremony. After a sermon by the
rector twenty-one sixpences are dropped, which are thereupon picked up
by an equal number of previously selected women. In the choice of
recipients for this bounty the preference is accorded to widows. The
origin of the custom and the date at which it first commenced are not
certainly known. It is said that the twenty-one sixpences were
originally derived from a fund left by a lady buried in the nave to pay
for masses for her soul, which after the establishment of Protestantism
was diverted to this charitable use. This story is not in itself
improbable, but the whole matter appears to be involved in obscurity.
It is, at all events, certain that the fund, whatever it may have been,
has long since disappeared; and the twenty-one sixpences were provided
by the churchwardens until a few years ago, when a sum, from the
interest of which they are now obtained, was invested by the Rev. J. W.
Butterworth.*
*It is gratifying to learn that during the past twelve months
subscriptions to the restoration fund have flowed steadily in, and only
£1,300 is now needed. Much progress has been made with the
work in the crypt; but it is feared that it is scarcely high enough to
enable it to be used, as had been suggested, for a mortuary chapel.