7. BRIDGE WARD WITHIN.
Bridge Ward Within consists of the Parish of
St. Magnus the Martyr and parts of the parishes
of St. Michael, Crooked Lane, St. Margaret, New
Fish Street, St. Leonard, Eastcheap, St. Benet,
Gracechurch, and All Hallows, Lombard Street.
The principal monuments are the Monument and
the church of St. Magnus the Martyr.
Ecclesiastical
(1) Parish church of St. Magnus the Martyr
stands on the S. side of Lower Thames Street,
and is a Renaissance building on the Gothic plan
and perhaps incorporating some of the N. and S.
walls of the mediæval building. The N., S. and W.
fronts are faced with Portland stone, as is also the
W. tower; the S. front is plastered and the clearstorey rendered in cement; the main roof is
covered with slates and the aisle roofs with lead.
The old church was destroyed in the Great Fire
of 1666 and re-built by Sir Christopher Wren in
1671–87, at a cost of £9579 19s. 10d. The steeple
was not finished until 1705, and the roofs were
burnt and the church slightly damaged in 1760.
In 1762 the aisles were shortened by one bay at
the W. end to allow the footpath on the E. side
of London Bridge to pass under the tower, and in
1768 the S. Vestry was added. In 1924 the fourth
column in each arcade was inserted.
The Tower and Cupola form a unique design
among the works of Sir Christopher Wren. Among
the fittings the fine organ-case, the reredos and
wrought-iron Communion rails are good examples
of the work of the period and a pre-Reformation
alms-dish and paten, both from St. Michael
Crooked Lane, are noteworthy.
Architectural Description—The church is approximately rectangular (80 ft. by 65¾ ft. at
the E. and 67 ft. at the W.) with a main body
(25¾ ft. wide) and side aisles and a projecting W.
tower.
The E. Elevation is concealed by buildings except
in the middle, where an area formerly gave light
to a large round-headed E. window which is now
blocked. The N. Elevation contains seven windows,
of which the 4th to the 6th are included in a façade
of very slight projection. All the windows
except the 5th are uniform and circular with
cherub-head key-stones and moulded architraves;
they are included in round-headed panels resembling blocked windows with rectangular panels at
the base and a moulded cornice over resting on
consoles. The 5th window is also round with a
moulded architrave and a carved swag on the wall
above. Below it is a round-headed doorway (blocked
internally) with a carved escutcheon key-stone
and flanked by plain pilasters supporting fluted
consoles on which rests a pediment. The wall stands
on a moulded plinth and the outer angles, with
those of the projecting bay, are rusticated. The
parapet is plain with a moulded string-course below
it. The clearstorey has four plain oval windows
with a blank space at each end of the wall. The
S. Elevation contains four round-headed windows
with moulded architraves. The wall has a moulded
plinth and is finished with simple cornice and
parapet. The W. Elevation—The ends of the side
aisles incorporate some of the original material
re-used and have each a blocked round-headed
window, with moulded architrave, cherub-head
key-stone and moulded cornice above resting on
consoles. The walls are rusticated at the outer
angles and finished with a moulded cornice and a
plain blocking course. On this are curved pedestals
supporting two carved scrolls, one on either side
of the W. wall of the tower. The Tower (Plate 3)
stands in the centre of the W. front, and is of four
stages surmounted by an octagonal cupola. The
ground-stage has a round-headed archway in
the N. and S. walls with concave external reveals,
moulded imposts and modern architrave and keystone. On the W. side of each doorway are two
Ionic pilasters (one at the angle of the tower)
with enriched capitals; the inner on each face
and part of the angle-pilasters are modern; they
support an entablature (with pulvinated frieze),
the cornice of which is carried along the W.
wall of the aisles. The W. wall forms a tetrastyle portico with a restored entablature and
pediment resting on four Ionic pilasters; in the
centre is a round window with architrave and
below it a square-headed doorway with eared
achitrave, a frieze enriched with a cherub-head
and swags and a cornice on plain brackets. The
side bays have each a round-headed niche semi-circular on plan with a rectangular and raised
panel above and below it. The second stage
stands on a low plinth slightly projecting on N.
and S. sides and is capped by a moulded string.
In the W. wall is a round window with moulded
architrave. The third stage forms architecturally
a base to the fourth, having a small plinth and
cornice and slightly projecting wide pedestals at
the angles. In the W. wall is a segmental-headed
window with architrave. The fourth stage or
bell-chamber has a round-headed louvered opening
in each face with architrave, plain key-stone and
a wood mullion. On either side of the windows
are coupled Corinthian pilasters resting on the
pedestals and supporting a continuous entablature
with pulvinated frieze. The parapet is pierced
to represent a miniature arcade with solid piers
at the angles each supporting a pair of stone vases.
The stone cupola is octagonal with a plain base and
has a round-headed opening in each face with plain
impost-blocks and keys. Below the moulded sills
are rectangular sunk panels. At the angles are
Corinthian pilasters supporting a continuous entablature recessed back to the face of the wall and a
plain stone base to the domed covering. The latter
is octagonal with moulded ribs at angles and lead-covered, and has a small segmental-headed light,
towards the cardinal points, with a segmental
cornice surmounted by a small pine-apple ornament. Above the dome rises a small octagonal
lantern with a round-headed opening in each face,
panelled pilasters at the angles and an entablature
from which rises an octagonal spirelet with slightly
concave sides and finished with a ball and vane.
Church of St Magnus the Martyr
Interior: Flanking the blocked E. window are
fluted Ionic pilasters supporting an entablature
continued along each side of the body of the church.
At the E. end of the S. wall is a blocked doorway,
and at the W. end of the same wall a modern
doorway. The colonnades dividing the centre
and side aisles are irregularly arranged. They are
each of six bays, of which the first is half and the
third was twice the width of the other three
before the insertion of the modern fourth column.
The fluted and reeded columns are of the Ionic
order, with half-columns as responds; the fourth
column on each side is a modern insertion. The
columns stand upon octagonal pedestals and they
support an entablature and, on the nave side,
an attic from which springs the ceiling. The
ceilings both of the centre and side aisles are of
the 18th century. The ground-stage of the tower
has a modern recess in the E. wall, and below
it a re-built square-headed door with moulded
architrave. Between the recess and door-head is
a partly modern moulded cornice continued from
the imposts of the N. and S. archways, and there
is a circular bell-way in the centre. The cupola is
supported internally by four courses of corbelling
carried across the angles of the bell-chamber. The
circular stairway is in the N.W. angle.
Fittings—All of late 17th-century date unless
otherwise described. Bells: ten, including seven
by Richard Phelps, 1714. Chests: in vestibule—
(1) of oak, of simple design, inscribed on front
"Bridge Ward Within 1674," with original handles
at the ends; (2) of oak, leather-covered and
studded with nails and dated 1670, original
handles, lock-plate and hasp; (3) of oak, with
two iron handles at each end, late 17th or
early 18th-century. Clocks: On W. gallery-front
—in centre-panel, (1) with repainted dial encircled by carved frame. On W. tower—(2) projecting from second stage of W. front on curved
beam strengthened by long scroll-bracket, with
two dials set within shaped ornamental surround
with cornice and segmental pediment with cherub-heads above and cartouche below, dated 1709
and given by Sir Charles Duncombe. Communion
Table and Rails. Table: In S. aisle—with moulded
top and massive baluster-shaped legs and moulded
rails with intersecting quadrant ends. Rails (Plate
38): of 1683 and of wrought-iron with large panels
of scroll-work separated by standards of simpler
design, the sides formerly returned against E.
wall in re-entrant quadrants, but rails now
moved forward. Doorcases and Doors. Doorcases: In S. aisle near E. end, not in situ—with
two attached and fluted Corinthian columns
supporting enriched entablature with cornice
projecting in centre and surmounted by segmental
pediment; top member of door-architrave
shouldered and carried up to form panel between
head of doorway and pediment and enclosing
carved swag with scallop above and richly carved
scrolls at sides; whole now forming reredos (Plate
67). To lobby at W. end of nave, with middle door
flanked by attached and fluted Corinthian columns
supporting entablature; middle door in two
leaves each of three raised panels, with central
panel elliptical and glazed; side doors single
and each of six panels surrounded by simple
architraves surmounted by rectangular panel.
Doors: to blocked N. doorway, in two leaves
each of two panels, with round panelled tympanum.
Between nave and vestibule, three, each in two
leaves with raised lower panel and upper part
in six glazed divisions. In N. and S. vestibules
—fixed against W. wall and flanked by fluted
Corinthian pilasters supporting enriched entablatures, two, each of two leaves with four raised
panels. Font: of white marble with octagonal
bowl of ogee section with upper part moulded
and lower part gadrooned, given in 1683; stem
of four moulded consoles with moulded fronts
and moulded plinths and supporting pseudoCorinthian caps; base of two circular steps
inlaid with two interlacing squares of coloured
marble, stem and base 18th-century or modern.
Font-cover: of oak, with octagonal base surmounted by four-sided superstructure with double
recessed angles and raised panels on each face
with simple cornice and segmental pediment;
in front of each face, small vase with flowers
carved in high relief; upper part rises in ogee
section with moulded angles and surmounted
by cherub-heads and dove with spread wings.
Gallery: over W. end of nave, partly carried on
two wrought-iron piers with pierced ornamental
sides and Corinthian capitals supporting moulded
wooden beams; front with raised panels, moulded
plinth and capping and divided into bays by
panelled pilasters; middle portion to nave projects with quadrant-angles with carved panel
surrounding clock and carved flanking pilasters,
early 18th-century. Monuments and Floor-slabs.
Monuments: In N. aisle—on E. wall (1) to
Thomas Collett, 1703, and Sarah (Howland) his
wife, 1714, cartouche with drapery and cherubs surmounted by canopy and having gadrooned shelf.
In S. aisle—on E. wall, (2) to Robert Dickins,
1705–6, draped cartouche (Plate 26) with cherub-heads and cartouche-of-arms. Floor-slabs: In
nave—(1) to John Stint, 1709, from St. Michael
Crooked Lane; (2) to Benjamin Henshawe,
1687–8, and Martha his wife, 1697; (3) to Henry
Amy, 1687, and Richard his son. In N. aisle—
(4) to John Ward, 1714; (5) to Benjamin Biddle,
1690; (6) to M . . . wife of . . ., 1692; (7) to
Jacob Babington, 1708, and Margaret his wife, 1710.
Organ and Organ-case (Plates 82, 28): Organ, built
by Jordan in 1712, includes the earliest 'swellorgan.' Organ-case, of oak, lower part with raised
panels surmounted by entablature with pulvinated
frieze and moulded cornice, both carved with pierced
acanthus-leaf enrichment and having scallop-shells
and palm-leaves at either end and two cherub-heads in middle; upper part in two bays with
three projecting towers of pipes surmounted by
carved acanthus leaves and continuous entablature,
recessed over bays and having carved acanthus
leaf cornice and broken pediment; over middle
of organ, secondary pediment in double-ogee form,
carried on pilasters, carved with swags, enclosing
pipes and broken in centre by a small pedestal
surmounted by crown; bays between 'towers'
each divided horizontally into two by a stringmoulding; lower part filled with panels richly
carved with musical instruments, flowers, etc.;
upper part with arched opening with moulded
imposts, with pierced carving running up to the
main entablature and carved cherub-heads in
spandrels; in openings, ranges of pipes with
pierced carving below. Paintings (see Reredos).
Panelling: round walls of church in three heights
with raised panels; on W. wall, in two heights
with panelled dado and enriched cornice. Paving:
At E. end and within communion rails—of black
and white marble squares, set diagonally. Plate
(Plate 30): includes two cups of different size, both
of 1560; secular standing-cup (Plate 29) of 1590
and of pear-shape, called the Falstaff Cup and given
by Francis Wythers; one flagon of 1654 dated 1678;
one flagon of 1641 dated 1678; four patens of 1653;
one pre-Reformation paten of c. 1500; one
similar paten of 1625 and an alms-dish of 1524
with four heads in medallions on the rim and a
figure of St. Michael in the middle; the two patens
last mentioned and the alms-dish formerly belonged
to St. Michael Crooked Lane, and the two flagons
to St. Margaret, New Fish Street. Pulpit
(Plate 78): hexagonal, painted, with carved
angles, enriched capping and base and raised panels
on five sides with carved border; segmental panels
below, three containing wreath and swag and two
panels containing wreaths held by half-cherubs
growing out of carved scrolls; lower part of pulpit
of ogee-section with carved ribs on angles supported
on hexagonal stem with moulded cap; stairs
later, except upper part with carved cut string.
Sounding-board: hexagonal with entablature
round sides and enriched cornice having projecting
angles and carried down in a segmental curve
between the angles; on cornice, carved scallopshells and swags with vases at the angles; underside with central inlaid star-pattern and border
of panels; carving partly restored and standard
modern. Reredos: occupying full width of
sacrarium, of oak divided into five bays by
attached fluted Corinthian columns with pilasters
at either end; columns and pilasters stand on
panelled pedestals connected by panelled dado,
and support entablature with segmental pediment over middle bay, slightly recessed in centre
with 'Pelican in her Piety' carved in the
tympanum; in lower part of each bay above dado,
carved panel; above, in middle bay two round-headed panels separated by festoon and containing
the Decalogue; in two adjoining bays, rectangular
panels containing paintings of Moses and Aaron;
in two outer bays, rectangular panels containing
Creed and Lord's Prayer and surmounted by
smaller panels carved with swags and wreaths;
above main cornice, a panelled attic, enriched
capping and panelled pilasters above columns;
three middle panels carved and middle bay surmounted by large panel flanked by carved pilasters
with enriched capping and supporting pediment with
enriched mouldings; in middle of panel, circular
frame with enriched mouldings enclosing painting
of Holy Dove in glory surrounded by cherubs;
below painting, carved open book and remainder of
panel filled with carved scroll-work; end pilasters
of attic support large carved figure of seated angel
holding palm-branch; the panels above second
bays of attic, curved brackets, Holy Dove, vases
and Rood are modern. In N. aisle—modern
reredos, incorporating some carved brackets and
other wood-work from the church and secular buildings. Screen: across W. end of nave, enclosing
vestibules, with central doorway flanked by fluted
Corinthian pilasters on E. side and Doric pilasters on
W.; lower part of screen towards nave panelled in
three heights with raised mouldings and panels;
on side towards vestibule, in four heights, the
uppermost carved; upper part glazed in octagonal,
lozenge and triangular-shaped divisions; side
screens towards aisles panelled in five heights,
the three lower with raised mouldings; doorways
flanked by Doric pilasters. Seating: six benches
with turned legs, moulded edge to seat and plain
stretchers. Sword-rest (Plate 44): In nave—on
second column on N. side, of 1708 and of wrought-iron, with crowned cypher of Queen Anne and
modern shields. Miscellanea: Benefactors'
Tablets. In S. aisle—on screen, (1) of two large
panels (Plate 45) flanked by festoons depending
from cherub-heads, with cornice and broken
segmental pediment above containing a cartouche with painting of Charity with three
infants, late 17th-century; (2) tablet with moulded
frame having shouldered and segmental top, 18th-century, from St. Michael Crooked Lane. On
gallery-front—four iron standards in the form of
Corinthian columns, two supporting mitres and two
the crowned monogram A.R., early 18th-century.
Condition—Good.
Secular
(2) The Monument stands on the W. side of
Monument Square on the E. side of Fish Street
Hill, about 170 yards N.E. of the N. approach to
London Bridge. It is of Portland stone and the
ball-shaped finial is of copper gilt. Built to commemorate the Great Fire of 1666, the work was
begun in 1671 and completed in 1677 from the
designs of Sir Christopher Wren; later restorations
include that of the year 1834 and another of 1888;
the iron cage enclosing the gallery was added in
1842.
The Monument (Plate 81) consists of a base 28 ft.
square, surmounted by a pedestal about 21 ft. square
and a fluted Doric column 120 ft. high. The top of
the capital is utilised as a gallery, and above is a
drum supporting a shaped vase crowned by a flaming ball. In the E. side of the plinth is a square-headed doorway giving entrance to the interior.
The pedestal has a moulded base and cornice,
both with enriched members, and on each side
a sunk panel with carved acanthus-leaf mouldings.
On the W. panel (Plate 81) is carved an allegorical
relief by Caius Gabriel Cibber representing King
Charles II. with the Duke of York bestowing protection on the stricken city and giving encouragement to the rebuilding. The King and his brother
are both in Roman costume, the former crowned
with a laurel-wreath and holding a baton, the
Duke wears a helmet and holds a garland; the
attendant figures include Science, Architecture,
Liberty, Justice and Fortitude, and the City is
represented by a female figure with dishevelled
hair and a sword in her left hand, and attended by
figures of Time, etc. Peace and Plenty are represented sitting in the clouds above; in the ruins
beneath the figure of London is a dragon supporting
the City arms, and below the steps on which the
King stands is a figure, probably representing
Envy; the background on the N. has burning
houses and on the S. is the rebuilding of the City.
The three other panels have incised Latin inscriptions in Roman capitals. That on the N. panel
gives an account of the fire, records the amount of
damage done and the height of the Monument,
202 ft., being the distance E. at which the conflagration broke out; the inscription on the S. panel
records the actions taken by the King and Parliament for the rebuilding of the City and erection of
the Monument; and the inscription on the E. panel
gives the dates of the building of the Monument
and the names of the Lord Mayors during whose
terms of office it was erected; above the inscription on the E. panel is an oval window
surrounded by a carved wreath with ribbons above.
At the base of the column, above the cornice to
the pedestal, on each side, is a carved garland,
with, at each corner, a carved dragon, the work
of Edward Pierce, junior; in the middle of the
garland on the W. side is a shield of the Stuart
arms surmounted by a state hat and with trophies
at the sides: on the N. side is a shield of the
City arms, on the S. side a scroll and on the E.
side a shield of the City arms with a flaming ball
above. In the central fillet on each side of the
column at regular intervals in its height are narrow
slit lights to the internal staircase. The band
above the necking of the capital is carved with
fire-balls and thunderbolts, and the ovals below
the abacus with egg-and-dart enrichment. Above
the abacus is a plain wrought-iron railing and an
iron cage enclosing the gallery which is entered
from the E. side of the drum supporting the crowning vase, through a square-headed doorway. The
drum has a moulded base and cornice, the middle
member of the vase is enriched with a copper-gilt band of ornament; from the copper-gilt
ball-finial project a number of spikes, simulating a
ball of fire. Inside the structure a spiral staircase
rises round an open well from the entrance-lobby
to the top of the column; the steps are of black
marble. In the lower part of the walls, at intervals
round the staircase, are round-headed niches.
Condition—Good.
(3) Fishmongers' Hall stands on the W. side
of Adelaide Place and is a modern building. It
contains one of the eight remaining funeral-palls
belonging to the city companies. This example
is about 12 ft. long with flaps to the sides and ends;
the embroidered arms and supporters of the company are twice repeated on each side, and between
them is St. Peter receiving the keys; at each end
is St. Peter enthroned, with keys and triple crown.
The arms did not come into use before 1536,
which is the approximate date of the pall.
(4) House (Nos. 18 and 19), on the W. side of
Fish Street Hill, 25 yards S.W. of (2), is of four
storeys with attics; the walls are of brick and the
roofs are covered with slates. It was built late
in the 17th century, but has been refronted in
18th-century and modern times. Inside the building, No. 19 has an original staircase (Plate 41) from
the first floor upwards; it has turned balusters,
straight strings and square newels with ball
terminals and moulded pendants. In the atticstorey of No. 18 is an original battened door.
Condition—Fairly good.