1. FABRIC
Wren's design for the new Church of St Bride stands high among
the remarkable variety of buildings with which he restored to London
its architectural distinction and gave it a new beauty of his own
creation. It is not only among the largest of the new churches; it shares with
St James's Westminster and Christ Church Newgate a fine dignity and unity
of interior composition and is yet marked with interest and originality. And
over and above the masterly treatment of the building as a place of worship,
the strong governing purpose of the whole conception, it possesses in its
tower and spire a wholly outstanding example of the architect's genius. The
simplicity of the theme, the repetition of motifs which might so easily have
been merely banal has been transmuted by his deft handling into a monument
of superlative beauty.
The new building was a worthy successor to the fine fifteenth-century
church which had preceded it. There is not sufficient evidence, at the time of
writing, to say how the old and the new plans were related. In clearing the
debris after the raid of 1940 it was found that the north arcade rested on the
foundations of the medieval aisle arcade. It is unlikely, however, that this
coincidence extended to the remainder of the plan. We do not know how
many bays went to the medieval nave nor to the chancel. Wren's church has,
like its predecessor, both north and south aisles. There is no structural division
between nave and chancel, the whole parallelogram measuring 97 feet by
28 feet 3 inches. (fn. a) The eastern portion of this, 6 feet 9 inches in depth, projects
beyond the aisles and forms the Sanctuary. The aisles are 11 feet 6 inches wide
and terminate with the west wall of the Church. They are of five bays each,
and the westernmost bay forms a vestibule, separated from the Church by a
screen that extends over both nave and aisles, and is furnished with north and
south doors. The west tower, 31 feet square externally and 14 feet 9 inches
inside, also communicates with the vestibule and with an external entrance,
thus forming a ceremonial approach to the Church from the west. The tower
is flanked by two staircases which give access to the galleries over the vestibule
and the aisles, and also to the rooms in the tower.
The integration of the whole design is so entirely regulated by the interior
that it will be convenient to describe this before the external elevations. Each
side of the central compartment is filled by the five semicircular arches of
the arcades, springing from piers and responds formed of coupled Doric
columns with a section of entablature above each pair. The bases of the
columns stand on semi-octagonal plinths, well above the seating, the capitals
have an egg-and-tongue enrichment to the echinus, and the only relief to the
entablature is given by the dentils of the cornice bed-mould and the waterlily leaf of its upper member. The face-mould of the arches is plain, but each
has a delightful little key block of a winged cherub's head beneath a feathered
headdress. A rich character is given to the arcades by the coffering of the
soffits, with carved mouldings to the panels and roses in the centre of each panel.
Above the arcades runs an inconspicuous cornice from which springs a
segmental (almost semicircular) plaster vault that spans the Church from
side to side and extends from east to west, some 45 feet in height. This vault
is divided into bays which echo the arcades not only in number but in their
transverse arches that are similarly coffered and enriched. These arches are
carried on skilfully designed corbels in the arcade spandrels formed of
elaborate escutcheons with a boldly carved cornice member that stands out
from the unemphasized springing of the vault. In each bay the vault opens
at the sides to provide for the large elliptical windows of the clerestory, the
effect of which depends solely on their concentric and radiating glazingbars. This is clearly shown in the views of the ruined Church. These large
windows flood the Church with light and give value to the whole arcuated
scheme of the interior. In the centre, between the sections of cross-vaults that
admit the clerestory, the vaulted ceiling is furnished with simple rectangular
panels with carved bolection mouldings.
The sanctuary at the east end is marked by a more decorative treatment in
strict harmony with the general scheme. The main entablature carried by the
piers extends along the side walls and returns on the east wall to be stopped
by the east window. It breaks round terminal and angle pilasters which have
the same detail as the pier-columns. The spaces between are filled with square
panels above semicircular-headed recesses, the latter, on the north and south,
being niches curved on plan. A second story of pilasters carries up to the
springing level of the vault, and here the highly enriched cornice, used for
the corbels, displaces the nave cornice and links the last pair of corbels with
the eastern composition. The two pairs of side pilasters have a slightly greater
projection than the corbels and this has enabled the more elaborate vault
of the sanctuary to master the last transverse arch. The vault is composed of
two bands of guilloche ornament joined by similar horizontal bands to form
seven deeply coffered panels with carved mouldings and centre pieces, the
whole forming an ornamented arch over the altar-pace. Between the upper
tier of pilasters are panels with carved swags above them.
How far this treatment of the east end can be ascribed to Wren is doubtful.
We shall refer later to the description of the east wall before John Deykes, the
architect, made his alterations in 1822–3 (see under Reredos, p. 53). The east
window with a semicircular head is of three lights terminating in a transome
at springing level, which arches over the centre light, leaving an uninterrupted
curved light above. This is a restoration which approaches the original
arrangement (see Plate 4). Deykes removed the mullions and transome and
the whole window was reglazed with a copy of Rubens' Descent from the
Cross in Antwerp Cathedral. We learn, from George Godwin's description
in 1839, that the glass was executed by Charles Muss and that together with
the ironwork it cost £600. (fn. 1) It is shown in the lithograph of 1835 reproduced
on Plate 29. This and Clayton's drawing (Plate 5) show the window framed
by the wall pilasters already described and an entablature supported by scroll
brackets and a curved pediment just beneath the vault. The pediment was
removed by Mr H. M. Fletcher, in his restoration of the interior of the
Church (1932) when three terminal vases were substituted on the entablature.
Mr Fletcher removed the elaborate painted decoration which had been lavished
on the whole interior of the building by Basil Champneys in an earlier
restoration at the end of the nineteenth century. It was under his direction
that the east window was altered and the glass by Powell and Wooldridge
inserted. (fn. b) The arch of the window has a central key block, and this with the
cherub's heads in the spandrels are part of the original work.
The treatment of the west end, obscured by the organ and gallery, has now
been laid bare by the fire. The archway into the tower is semicircular and
springs from plain moulded responds, the moulding of which continues
across the eastern face of the tower wall. Above the arch the pier entablature
is continued unbroken, and over this is a large shallow elliptical recess,
faced with ashlar, and hollowed out of the tower wall to give additional
space to the organ gallery. In the centre of the recess is a semicircularheaded doorway, with access to the tower-room, framed in pilasters carrying
a pediment over. Higher up a narrower doorway connects the tower with
the roof space over the Church.
The galleries, which stand over the aisles, have panelled fronts of independent sections between the piers, and are carried on pilasters attached to
the east and west faces of the coupled columns. The ovolo bases of the
pilasters align with the lowest member of the column bases, and have a plain
moulded capping and necking. The oak fronts are each divided into three
panels, an oval centre enriched with banded bayleaves flanked by rectangles,
and separated by panelled pilasters. A plain cornice forms the top and below
is an entablature with the cornice breaking round the pilasters and dropping
in a festoon-like curve under the central panels. Each side of this feature the
architrave breaks upwards in a mitred 'ear' beneath the pilasters. The west
gallery follows the same scheme, with a clock in the centre and beneath it
is the screen.
The external walls of the aisles have three large round-headed windows in
the central bays, across which the gallery passes. In the end bays of each aisle
is a circular window ranging with the upper part of the larger windows, and
below the western pair are the north and south entrance doorways. In the
east walls are large windows corresponding with those north and south, while
to the west the walls are pierced by semicircular-headed doors to the staircases
and circular openings above. The aisles are ceiled in each bay with a plain
groined vault in plaster, and between each compartment is a transverse arch
springing from moulded corbels with winged cherubs' heads beneath set in
the external walls.
The interior of the tower in the ground story is a particularly interesting
design. The passages through the east and west wall are each formed with
inner and outer arches, the space between being coffered above, and having
tall niches in the walls. The respond of the arches is continuous around the
compartment, which is curved on plan on the north and south to follow the
line of a circle struck from the centre of the tower. These curved recesses are
arched to match the entrance arches and between them are pendentives carrying a saucer dome based on a bold circular cornice, and pierced with an eye,
enriched with carving, for the passage of the bells. The staircases to the
galleries, north and south of the tower, were of oak with the normal detail
of the period, moulded strings and handrails, square newels and twisted
turned balusters.
The exterior of the Church is of the simplest character. A moulded plinth
is carried round the entire building and all the external angles are rusticated,
with quoins the depth of the ashlar courses. The aisles are finished with
moulded cornice and plain parapet and the windows already described have
simple broad architraves (with a slight projecting ear covering the springing
of the arched head) and moulded cills. The circular windows have continuous
architraves without key blocks or ornament. The external doors (now blocked)
to the eastern bays have pedimental heads carried on carved console brackets,
with a projecting panel in the centre of the frieze and architrave, the latter of
which surrounds the door. The entrance doors in the western bays are more
elaborate. An archway of rusticated masonry, with flanking columns of the
Ionic order supports an entablature and pediment.
The east elevation has a pediment crowning the sanctuary projection, with
a circular window set in the tympanum. The east ends of the aisles have a
horizontal parapet and one large window to each. The main east window has
a panelled cill (probably due to the glass line having been raised) and rests on
a podium, with two panels, reaching down to the main plinth. The window
is enclosed in a moulded arch resting on pilasters, and the whole is within a
pedimental frame with additional panelled pilasters terminating in console
brackets.
The west elevation of each staircase has a circular window over a squareheaded one with architrave surround and cornice over. Above each parapet
the east and west staircase walls are curved stone ramps to the tower ending
above in ornamented volutes. Between the staircases rises the tower which is
of three stages, the second and third having two stories apiece. Above the
uppermost is the lofty stone steeple.
The ground stage of the tower projects about a foot from the main walls
above and is capped with a bold string course and curved weathering which
covers the projection. The angles have quoins and in the centre is the main
west entrance with a square-headed opening set in rusticated masonry with
flat arch having a large keystone bearing a cartouche with the words 'Domus
Dei' beneath a cherub's head. The door is flanked by Ionic columns supporting an entablature and segmental pediment, the latter rising above the
course which divides the stories.
The second stage consists of a plain block, 47 feet in height, without
projecting quoins but with emphasised ashlar joints. The centre, for rather
more than a third of the whole width is recessed and arched at the top within
a distance of three courses of the cornice. This contains a circular window
above a large rectangular one finished with entablature and pediment. Each
window is surrounded by a broad architrave in three faces and there is a sunk
panel beneath the lower light. A well-marked cornice furnished with modillions surrounds the tower between the second and third stage, and above it
the lower surface is extended for four courses to serve as base for the structure
of the third stage. The other faces are plain except for a small circular opening
north and south, the former having been covered by a modern clock. The
third story (bell chamber) has all four faces alike. At each angle is an engaged
(three quarter) column, flanked on each side with pilasters, of the Corinthian
order, carrying a continuous entablature that surrounds the tower. This
entablature breaks forward slightly on each face above the pilasters to carry
a segmental pediment. The columns and pilasters have moulded bases resting
on pedestals that stand on the podium above the cornice of the story below.
Within a rectangular recess between the pilasters is an arch, framing the
louvred openings of the bell chamber. This arch springs from moulded
responds on plain jambs and beneath the cills of the openings is placed a
projecting panel or table capped with a moulded cornice. On the north and
south faces small circular windows are inserted in the centre between the
pedestals of the main pilasters. Above the pediments each face of the tower
is carried up the width of the central feature only, leaving re-entrant angles
at the tower corners, to assist in the transition to the octagonal spire. A panelled
parapet follows the contour of this uppermost section of the tower and eight
vases, each carved with demons' heads and flame finials, stand on the parapet
angles.
The steeple stands on a circular base with a simple cornice. Above this are
four stages, octagonal in plan, treated in the lower three with arched openings
on each face in the fourth with rectangular openings with a small circular hole
above each. The angles of the stages, which diminish in size as they ascend,
have single pilasters, Doric in the first two, Ionic in the third and Corinthian
in the fourth. Each stage has a full entablature, breaking round the pilasters,
and the three top stages have similar bases beneath both pilasters and arches.
The arches have moulded responds and carved key blocks. In the centre of
the spire is a stone newel stair which serves as a spinal support, terminating in
the spirelet which has a panelled and pierced base. It is an obelisk in form,
octagonal on plan, and carved with a ball at each angle above the base. The
whole is surmounted by ball and vane. There were originally eight vases at
the foot of the obelisk, shown in Mr Stratton's drawing (Plate 7) which
follows Clayton.
The only addition of importance to the Church in the eighteenth century
is the vestry, which has survived the air-raids and is now doing duty as a
temporary Church.