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Title: Bell's Cathedrals: The Priory Church of St. Bartholomew-the-Great,
Smithfield

Author: George Worley

Release date: May 17, 2007 [eBook #21511]
Most recently updated: January 2, 2021

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK BELL'S
CATHEDRALS: THE PRIORY CHURCH OF ST. BARTHOLOMEW-
THE-GREAT, SMITHFIELD ***

THE INTERIOR FROM THE ORGAN GALLERY.

THE PRIORY CHURCH OF ST.
BARTHOLOMEW-THE-GREAT,
SMITHFIELD

A SHORT HISTORY OF THE FOUNDATION
AND A DESCRIPTION OF THE FABRIC
AND ALSO OF THE CHURCH OF
ST. BARTHOLOMEW-THE-LESS

BY

GEORGE WORLEY

AUTHOR OF "SOUTHWARK CATHEDRAL," "THE TEMPLE
CHURCH," ETC.

WITH XLII ILLUSTRATIONS

LONDON GEORGE BELL AND SONS 1908

CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

PREFACE

In gathering material for this handbook I have received valuable help
from several friends, whose kindness calls for grateful recognition. My
thanks are due, in the first place, to the Rev. W. F. G. Sandwith, Rector of
St. Bartholomew-the-Great, and the lay custodians of the church, for the
facilities which have allowed me to examine the building in all its parts, and
for the readiness with which they have given information, not accessible
elsewhere, on various points of its history and architecture. In this matter,
besides more personal obligations, I feel that I owe much, in common with
many others, to Mr. E. A. Webb, the active member of the Restoration
Committee, for the suggestive data of his open lectures, and for the
interesting expositions of the fabric by which he has always supplemented
them. Others to whom I am indebted are Dom Henry Norbert Birt, O.S.B.,
of Downside Abbey, and Mr. Charles W. F. Goss, Librarian to the
Bishopsgate Institute, for their skilful guidance in the literature of the
subject; Mr. F. C. Eeles, Secretary to the Alcuin Club, for the Elizabethan
Inventory and account of the Mediaeval Bells; and Messrs. Wm. Hill and
Son, the famous builders, for particulars of the organ.

For the illustration of the book, Mr. A. Russell Baker has kindly
contributed a selection from his rare set of old engravings, before
presenting the whole to St. Bartholomew's Hospital.

The photographic views of the church and monuments, as seen at the
present day, were taken by Mr. Edgar Scamell, of 120, Crouch Hill; and the
seal-impressions by Mr. A. P. Ready, the British Museum artist. Finally, Sir
Aston Webb, R.A., has to be thanked for the ground-plans of the church and
monastic buildings; and Mr. G. H. Smith for the plan and dimensions of St.
Bartholomew-the-Less.

A list of books and papers is appended for the benefit of students anxious
for more detailed information than could be included here.

G. W.

June, 1908

A SELECTION OF WORKS ON ST.
BARTHOLOMEW-THE-GREAT

The Book of the Foundation of St. Bartholomew's Church in London,
sometime belonging to the Priory of the same in West
Smithfield." Edited from the original manuscript, with an
Introduction and Notes by Norman Moore, M.D. 1885.

The Charter of King Henry I to St. Bartholomew's Priory, addressed
to the Archbishop of Canterbury and to Gilbert the
Universal, Bishop of London, in the year 1133." Edited with
Notes, from the copy in the Record Office, by Norman
Moore, M.D. 1891.

Rahere's Charter of 1137." Translated, with Explanatory Notes, by
Norman Moore, M.D. 1904.

The Ordinance of Richard de Ely, Bishop of London, as to St.
Bartholomew's Priory in West Smithfield, witnessed by
Henry Fitzailwin, First Mayor of London, in the year 1198."
Edited from the original document by Norman Moore, M.D.
1886.

Dugdale's "Monasticon Anglicanum" (edit. Bandinel, Caley, and Sir
Henry Ellis) is indispensable to the student. The sixth
volume (p. 291 sqq.) contains an account of the Smithfield

Foundation, and (p. 37 sqq.) the Rule for Austin Canons. For
the latter the reader will do well to consult also R. Duellius'
"Antiqua Statuta Canonicorum S. Augustini metrice cum
glossulis optimis," and "Regula Canonicorum Regularium
per Hugonem de S. Victore Commentario declarata."

or illustrative matter during the Tudor period reference may be made
to "The Elizabethan Religious Settlement," by Dom Henry
Norbert Birt, O.S.B., 1907; the Rev. C. F. Raymund Palmer's
"Articles, chiefly on the Friars Preachers of England,
reprinted from archaeological journals, 1878-85"; and
"Obituary Notices of the Friars Preachers or Dominicans of
the English Province." 1884.

he literary work of Fr. Perrin (the Marian Prior) is described in
Charles Dodd's "Church History of England" (1727 edition),
and Pit's "De Illust. Scriptoribus Angliae."

Besides the invaluable "Historia Anglorum" of Matthew Paris (ed. Sir
F. Madden), and Stow's "Survey of London" (ed. John
Strype), the following books may be found useful:

Repertorium, or History of the Diocese of London." Richard
Newcourt. 1708.

New View of London." Edward Hatton. 1708.

New Remarks of London: by the Company of Parish Clerks." 1732.

London and its Environs described." R. and J. Dodsley. 1761.

History of London." Win. Maitland. (Ed. Entick, 1772.)

Londinium Redivivum." J. P. Malcolm. 1803.

Londina Illustrata." Robert Wilkinson. 1819.

The Churches of London." G. Godwin and J. Britton. 1839.

Memories of Bartholomew Fair." H. Morley. 1859.

The progress of the modern work at the church has been announced from
time to time in the circulars issued by the Restoration Committee, the
substance of which is incorporated in the text, where also the other
authorities consulted by the present writer are referred to.

CONTENTS

PAGE
Preface v
List of Works of Reference vii
List of Illustrations xi
Chapter I. History of the Foundation 3
II. Exterior of the Church 25
III. Interior of the Church 33
IV. St. Bartholomew-the-Less and the Hospital 63
Appendix I. The Priory Seals 73
II. The Priors and Rectors 77
III. Inventory of Vestments, etc. 79
IV. The Organ 80
Index 83

LIST OF ILLUSTRATIONS

PAGE
Interior of the Church from the Organ Gallery Frontispiece
The Priory Arms Title-page
Interior of the Church from the East (1805) 2
North Side of the Choir from the Triforium 9
Interior of the Choir (1822) 11
Plan of the Monastic Buildings at the Dissolution 15
The Choir Before Restoration 19
The Priory Church from the West 24
The Priory Church from the West (1810) 25
The North Porch 29
View of the Crossing from the Triforium 32
South Aisle From the West—showing Early English Shafts 34
North Transept and Screen 36
North Transept from the South 37
The Font and Freshwater Monument 41
Interior From the East—showing Prior Bolton's Gallery 42
The Founder's Tomb 45
The Founder's Tomb, showing the original extent of
46
arcaded work
The Chamberlayne Monument 48
The Smalpace Monument 49
The Ambulatory and Entrance To the Lady Chapel 51
The Mildmay Monument 53
The Lady Chapel 56

The Crypt 57
The Remaining Bays of the Cloister 59
St. Bartholomew-the-Less and the Hospital Gate 62
Interior of St. Bartholomew-the-Less 65
Brass of William and Alice Markeby 67
Ancient Sculptured Tablets 68
Seals of the Convent and Hospital (eleven examples) 73-76
Plan of St. Bartholomew-the-Less 71
Plan of St. Bartholomew-the-Great (existing Church) at End

INTERIOR OF THE CHURCH, FROM THE EAST
From a print of 1805.

ST. BARTHOLOMEW-THE-
GREAT

CHAPTER I

HISTORY

The spring and fountain-head of our information about the Priory of St.
Bartholomew-the-Great is an account of the foundation, interwoven with
the life and miracles of Rahere, the founder, which was written in Latin by
one of the Canons soon after Rahere's death in the reign of Henry II. An
illuminated copy of this work, made at the end of the fourteenth century, is
preserved in the British Museum, with an English translation, which forms
the groundwork of all subsequent histories.[1]

Allowing for a few contradictory dates and statements in this precious
document, and for the occasional flights of a pious imagination in the
biographer or his subject, we arrive at the following historical basis: Rahere
was a man of humble origin, who had found his way to the Court of Henry
I, where he won favour by his agreeable manners and witty conversation,
rendered piquant, as it appears, by a certain flavouring of licentiousness,
and took a prominent part in arranging the music, plays, and other
entertainments in which the King and his courtiers delighted during the first
part of the reign.[2]

In the year 1120 a total change was wrought in Henry's character by the
loss of his only legitimate son in the wreck of the "White Ship," on its
voyage from Normandy to England, after which the King is said never to

have smiled again. The event naturally cast a gloom over the Court;
frivolities were abandoned, and religious devotion, either genuine or
assumed in polite acquiescence with the royal humour, took the place of the
amusements which had hitherto held sway. In one case, at least, the spirit of
reformation was at work in good earnest. Rahere, repenting of his wasted
life, thereupon started on a pilgrimage to Rome, to do penance for his sins
on the ground hallowed by the martyrdom of St. Paul, some three miles
from the city. The spot known as the Three Fountains, now rendered more
or less sanitary by the free planting of eucalyptus, was then and long
afterwards particularly unhealthy, and while there Rahere was attacked by
malarial fever. In his distress he made a vow that, if he were spared, he
would establish a hospital for the poor, as a thank-offering, on his return to
England.

His prayer was granted, but his recovery was slow. During his
convalescence he had a vision, or dream, in which he thought a winged
monster had seized him in its claws, and was about to drop him into a
bottomless pit, when a majestic form came to his rescue, and thus addressed
him: "I am Bartholomew, the Apostle of Jesus Christ, that come to succour
thee in thine anguish, and to open to thee the secret mysteries of heaven.
Know me truly, by the will and commandment of the Holy Trinity, and the
common favour of the celestial court and council, to have chosen a place in
the suburbs of London, at Smithfield, where in my name thou shall found a
church. This spiritual house Almighty God shall inhabit, and hallow it, and
glorify it. Wherefore doubt thou nought; only give thy diligence, and my
part shall be to provide necessaries, direct, build, and end this work."[3]
Rahere at once promised compliance, and, as soon as he got back to
London, first obtained the King's consent, and then, "nothing omitting of

care and diligence, two works of piety began, one for the vow that he had
made, the other as to him by precept was enjoined."[4]

The suburb of Smithfield (Smoothfield) is said to have already occurred
to Edward the Confessor as a suitable place for a church on the outskirts of
London, possibly as affording a similar area, in its level and marshy
surface, to that chosen for his Abbey at Westminster. The greater part of it
was, indeed, covered by water, the one dry spot (known as "The Elms")
being reserved for public executions, which continued to take place there
till some centuries later. The eastern portion of this waste land was granted
by Henry I, through the agency of Richard de Belmeis, Bishop of London;
and it was here that, in the year 1123, Rahere began building.[5]

In a marvellously short time the funds were forthcoming, and his double
object was achieved in the erection of the Hospital, with the Church at a
little distance, the whole being dedicated by the same friendly bishop to St.
Bartholomew the Apostle, in fulfilment of Rahere's vow and the Saint's
instructions.

Rahere is said to have been assisted in his architectural work by Alfune,
who had founded St. Giles's Church, Cripplegate, in the year 1090; and
there is a story to the effect that three noble travellers, or merchants, from
Byzantium were present at the foundation, when they foretold its future
greatness, and were consulted by Rahere as to the design and character of
the building while his plans were under consideration.

On the southern side of the church the group of buildings gradually arose
which constituted the Priory, of which the founder, having devoted himself
to the monastic life, of course became the first Prior; and here he spent the
rest of his days with thirteen companions—the sub-prior and twelve

subordinates—all living under the Rule of the Canons Regular of St.
Augustine. The number was afterwards brought up to thirty-five by Thomas
of St. Osyth, the second Prior (1144-1174), who made a corresponding
addition to the premises.[6]

In 1133, when the buildings were fairly advanced, and the value of
Rahere's work had got to be recognized, a charter of privileges was granted
by Henry I to the Prior and Canons. Commencing with an invocation of the
Holy Trinity, it was addressed to the Archbishop of Canterbury and the
Bishop of London, with a greeting to all the King's faithful subjects,
especially the citizens of London. Its comprehensive immunities may be
inferred from the opening paragraph:

Know ye that I have granted, and have by this my charter
confirmed, to the Church of St. Bartholomew of London, and to
Rahere the Prior, and to the Canons Regular, in the same church
serving God, and to the poor of the Hospital of the same church,
that they be free from all earthly servitude, and all earthly power
and subjection, except episcopal customs, to wit, only
consecration of the church, baptism, and ordination of clergy;
and that as any church in all England is free, so this church be
free, and all lands to it appertaining, which it now has, or which
Rahere the Prior, or the Canons, may be able reasonably to
acquire, whether by purchase or by gift. And it shall have socc
and sac, and thol and theme, and infogheneteof; and all liberties
and free customs and acquittances in all things which belong to
the same church in wood and in plain, in meadows and pastures,
in waters and mills, in ways and paths, in pools and vineyards,
and marshes and fisheries, and in all places now and for ever.[7]

Another paragraph may be worth quoting, as it expressly includes
Bartholomew Fair among the privileges conveyed, though it is clear from
the terms of the instrument that a fair had previously been held in the open

space at Smithfield on the Saint's anniversary. Even before the accession of
Henry I there had been a market on the spot, known as "the King's Market"
when the ground was allotted to Rahere. (Vide "Vetusta Monumenta," vol.
ii.)

I grant also my firm peace to all persons coming to and
returning from the fair which is wont to be celebrated in that
place at the Feast of St. Bartholomew; and I forbid any one of
the royal officials to send to implead any one, or without the
consent of the Canons on those three days—to wit, the eve of
the feast, the feast itself, and the day following—to demand
customary dues from them.

The observance was afterwards extended to a double octave of fourteen
days, and included all kinds of shows and entertainments, theatrical,
conjuring, and acrobatic performances, in addition to the traffic in cloth-
stuffs, horses and cattle, which gave the fair its commercial importance. The
stalls, or booths, in which the portable goods were exposed for sale, were
held within the monastery walls, the gates of which were locked at night,
and a watch kept over the enclosure.[8]

Rahere died on 20th September, 1144, and was buried in the church,
where his tomb occupies the usual place for Founders on the north side of
the sanctuary, surrounded by his magnificent Norman work in the choir,
with the ambulatory beyond it, and extending upwards to the arcading of
the triforium. The eastern part of the clerestory is a modern reproduction of
that which superseded Rahere's; but, with this exception, the interior of the
choir was probably much the same originally as it is (restored) to-day.

There was, however, a central tower, and, if the design on the twelfth-
century Priory seal is to be trusted, a high circular turret at each end of the

exterior.[9]

Thomas of St. Osyth, the second Prior (d. 1174), erected the transepts and
the easternmost bays of the nave, all of which bear signs of the architectural
transition. The nave was probably completed during the next half-century,
in the Early-English (then superseding the heavier Norman) style, as may
be inferred from the surviving western gateway, and the mutilated columns
which remain within the building at the western end.

THE NORTH SIDE OF THE CHOIR FROM THE TRIFORIUM

Perpendicular work was introduced early in the fifteenth century, when
Roger de Walden, Bishop of London (1405-1406), built a chantry-chapel to
the north-east of the choir, and inserted a new clerestory, in the then
fashionable style, in place of the original. He also made a considerable

alteration in the chancel by substituting a square east-end for the circular
apse, part of which was taken down and used as building material for the
innovation. But de Walden's work was cut short by his death, when he had
scarcely held the See of London for two years, and was buried in his Chapel
at St. Bartholomew's, instead of in the Cathedral Church like most of his
predecessors.

The Lady Chapel, with the crypt beneath it, dates from about 1410, when
also the central tower was probably rebuilt, and decorative additions were
made to the Founder's tomb, in the shape of a canopy and panelling. In the
first part of the next century Prior Bolton (1505-32) inserted the Oriel
window on the southern side of the choir-triforium and the doorway in the
south ambulatory, both of which bear his sculptured rebus—a bolt, or arrow,
driven through a tun. In 1539 his successor, Robert Fuller, the last of the
Augustinian Priors, surrendered the entire property to Henry VIII, in
compliance with the Act of Dissolution, its value having been already
ascertained in the twenty-sixth year of the King's reign. The exact figures
are given by Dugdale as follows:

Summa totalis hujus monasterii. £773 0s. 1¾d.
" " reprisarum £79 10s. 3½d.
————————————————
Et remanet clare £693 9s. 10¼d.

INTERIOR OF THE CHOIR
From a print of 1822

For many years before the dissolution of the monasteries the system on
which they rested had been gradually undermined by the spread of the
Reformation, accompanied by a growing conviction that the religious
communities had not only outlived their usefulness, and to a great extent
departed from the high standard of their founders, but that their enormous
wealth had given them an influence far beyond that of any other institution,
or combination of institutions, in the kingdom, and brought them into
formidable rivalry with the State itself—the more dangerous in proportion
to their devoted adherence to the Papacy, with which the State was in
collision. By whatever unworthy motives Henry VIII may have been
governed in aiming at the monastic property, he was therefore able to bring

forward many political considerations, which coincided with those arising
out of religious doctrines, to make his measures intelligible to his people,
and consequently easy to himself. Among the various plausible reasons
which were urged against the continued existence of the conventual houses,
one of the most likely to appeal to the practical sense of the multitude was
the misuse of the resources with which they had been endowed. While it
was admitted that in their earlier days they had been extremely useful in
mitigating distress among the poor, it was now argued that their
indiscriminate charities were doing more harm than good, and that the
changed economic conditions of the sixteenth century called for a
corresponding change in the distribution of relief, to save the country from
being overrun by undeserving mendicants, amongst whom some of the
religious Orders were themselves to be reckoned. It does not appear that
any part of this argument held good against the Augustinian Canons, or that
the more serious moral charges brought against the smaller communities
were at all applicable to their case, which was rather one of involvement in
a common ruin than the result of any specific accusation. It is true there are
instances of laxity at individual houses, showing a too easy discipline where
they occurred, but there is nothing sufficiently extensive or important to
compromise the Order as a whole, or materially damage its character in the
eyes of the impartial modern student.[10]

It might have been expected that some immunity from the wholesale
spoliation which followed the Act would have been granted to Rahere's
foundation, in view of his special provision for the poor in the hospital
which was an integral part of it. The hospital has indeed been allowed to
survive as a separate institution; but the whole of the strictly monastic
buildings were doomed, the nave of the church being at once pulled down,
and the choir only preserved for the use of the parish. With this reservation,

the site of the Priory and the buildings upon it, including the Lady Chapel,
were sold in 1546 to Sir Richard Rich, Knight (Attorney General), for the
consideration of £1,064 11s. 3d., and the property has remained in the hands
of his descendants till quite recent years. The possession was, however,
interrupted by Queen Mary, who introduced the Dominican Order of Black
Friars into the Convent. They had started rebuilding the nave when the
accession of Elizabeth meant a return to the policy of her father, the
expulsion of the friars, and the restitution of the Priory estate to Richard
(then Lord) Rich and his heirs "in free socage," by a renewal of the previous
grant.[11]

Some idea of the strong ecclesiastical influence broken up at the
Dissolution may be gathered from a glance at any old map of London,
showing the numerous religious foundations by which the Priory was then
surrounded, now for the most part swept away, or only surviving here and
there in institutions which retain the ancient names under modern
conditions. Immediately to the north lay the Carthusian monastery,
familiarly known as the Charterhouse. On the north-west was the Priory of
St. John-of-Jerusalem, founded by the Knights Hospitallers. The Franciscan
Convent of the Grey Friars extended along the southern boundary of St.
Bartholomew's, between the Priory walls and St. Paul's Cathedral. To the
south-west, near the Thames, there was the monastery of the Carmelites, or
White Friars, with the church and houses of the Knights Templars beyond
it. Within the City, to the east, were the great establishments of the Austin
Friars and St. Helen's nunnery, while east and west the churches spread—
many of monastic origin—culminating in two of the most important
buildings in Europe, the Tower of London and the palace of Westminster,
each with its ecclesiastical dependencies, the whole dominated by the

mediaeval spirit about to be dispelled, for good or evil, by the great
movements of the Renaissance and Reformation.

A conjectural restoration of the Priory buildings, as they stood in Prior
Bolton's time, based on the records available in 1893, and the architectural
fragments which then remained, shows them to have been bounded on the
northern side by the Church, which extended from the Lady Chapel at its
eastern extremity to somewhere near the line indicated by the small
archway now leading from the public square into the churchyard on the
west. This churchyard covers the ground formerly occupied by the nave, a
mutilated portion of which remains within the building, attached to the
lower stage of the central tower. It seems clear that the choir once extended
over the tower-space, and was separated from the nave by a screen, with a
parish-altar on its western side for public worship, while the chancel was
reserved for the monastic services, with a raised presbytery for the high
altar at its eastern end—a threefold division providing for the ancient ritual
arrangement.

In the ambulatory on the northern side of the choir there were apparently
three chapels, besides Bishop Walden's chantry, which was the easternmost
of the series, and is supposed to have had a semicircular apse. There was a
similar, but rather smaller, chapel opposite to it on the south side, and
between it and the south transept a sacristy, erected about 1350.

Outside the Lady Chapel lay the cemetery of the Canons, on the favourite
(south) side for burials. The cloister formed a large quadrangle attached to
the south aisle. The Prior's residence was probably on the western side of
the quadrangle, and on the south there was a range of buildings comprising
the refectory, buttery, and kitchen, with the Close beyond them.

Opening into the cloister on the east was the Chapter House, an oblong
structure, adjoining which, on the south, was the dormitory, overlooking the
Mulberry Gardens on the east, and the Close on its western side.[12]

PLAN, PARTLY CONJECTURAL, OF THE MONASTIC
BUILDINGS AT THE DISSOLUTION

The work of demolition commenced immediately after the transfer of the
property to Henry VIII, when the nave was destroyed; and as soon as Sir
Richard Rich came into possession, he started pulling down the buildings
for the sake of the materials, which were used in the erection of new houses
where the old had formerly stood, as well as on the gardens and orchards
around them. By the time of Queen Elizabeth the district had become a
favourite residential quarter for great people, who gradually disappeared
with the growth of London, and the migration of gentry westwards, when
the houses vacated in Smithfield were let off in tenements to the same sort

of poor people who now share the neighbourhood with merchants and
shopkeepers.

During Elizabeth's reign the church had been allowed to get into a very
dilapidated state, and that it was in some danger of total destruction appears
from a letter written by Edmund Grindal in 1563, while he was Bishop of
London, to Sir William Cecil, proposing to take the lead from the roof, and
transfer it to St. Paul's Cathedral:

St. Bartholomew's Churche, adjoining to my L. Rich's house, is
in decaye, and so increaseth dailye. It hath an heavie coate of
lead, wch wolde doe a verie goode service for the Mother
Churche of Powles. I have obtayned my L. Rich's goode wishes,
and if I coulde obteyne my L. Chiefe Justice of the K. Benche
and Sir Walter Mildmaye's assente, I wolde not doubte to have
the assente also of the whole parishe, that ye leade might goe to
the coveringe of Powles.... Now remayneth only this scruple—
How shall the parisshe be providett of a churche? That is thus
answered: There is an house adjoininge, wch was the Fratrie, as
they termed it, a very fayre and a large house, and indeed al-
readye: if it were purged, it lacketh nothinge but the name of a
churche; is well buylded of free stone, garnished inwarde aboute
with marble pyllers, large windowes, etc. I assure you, without
partialitie, if it were roofed up, it were farre more beautiful and
conveniente than the other. Yt is provided with goode sclate. If
we mighte have the leade, we wolde compownde with my L.
Rich for convertinge the said Fratrie to a Churche, and wee
wylle also supplye all imperfections of the same, and not desire
the p'isshe to remove tylle the other be meete and conveniente to
goe to.[13]

Lord Rich thought favourably of the proposal; but that fears were
entertained elsewhere would seem probable from a second letter, in which
Grindal writes as follows:

For S. Bartholomewes—I meane not to pulle it downe, but to
change it for a Churche more conveniente ... unlesse some
strange opinion shulde arise that prayer were more acceptable
under leade than under sclate.

The long period of neglect and desecration which follows is rather to be
inferred from the condition of the buildings in the early part of the
nineteenth century than from any actual records respecting them. What that
condition was in 1809 is described in two letters which appeared in "The
Gentleman's Magazine" for March and April in that year. They were written
in a spirit of indignation at the behaviour of "a powerful junto" which had
been formed in the parish to sweep the whole structure away, church
included, on the pretext that part of the choir was in danger of tumbling
down. It had, however, been saved by the exertions and judicious repairs of
Mr. Hardwick, to whom the writer pays a just compliment for his timely
action against the particular committee. He then goes on with a lamentable
picture of what met his eyes on a "recent survey" of the Priory, which he
had previously examined in 1791, when it was pretty much in the same
state.[14] The Lady Chapel was still in existence, but wholly filled up with
modern tenements; the north transept was more or less destroyed, and the
arch bricked up to reduce that side of the church to a level, while the south
transept—a ruin without a roof—was walled off from the church, and used
as a burial-ground. The eastern side of the cloister was all that remained of
the quadrangle, and was turned to account as a "comfortable eight-stall
stable" for horses. The site of the north cloister was occupied by a
blacksmith's forge, a public house, and certain private offices; the south and
west being covered with store-rooms and coach-houses. Of the Chapter
House the remaining walls were "no higher than a dado," and under them
the timber was stored after treatment in the sawpit of the enclosure. The

dormitory to the south of the Chapter House had been demolished, and the
crypt beneath it bricked off into divisions for stores, with a common
thoroughfare open between them. It may here be mentioned that a close
examination of the ground has shown that there was formerly the usual
"slype," or open pathway, running from the cloister-garth, between the
south transept and the Chapter House, to the canons' cemetery on the
southern side of the Lady Chapel.

The building against the south wall of the choir (probably the sacristy,
though called a chapel) is described as a magnificent structure, of about the
time of Edward III, with windows on the eastern and southern sides, and a
grand arch (then latticed up) which formerly connected it with the south
transept. It was being used as a store-room for hops. The chapel to the east
of this was destroyed in its upper part, and the windows had lost their
arched heads, though the columns and architraves to the jambs remained,
showing some very delicate and beautiful work, which was also remarkably
fine in the dado mouldings. The ceiling of the church—the wreck of the
Tudor open-worked timber roof—had been "pared down to a common
pediment covering," supported on the heads of cherubim as corbels. The
Doric altar-piece is contemptuously referred to as "a painted theatrical
scene of architecture."[15]

While the subordinate buildings were dropping into ruin, the church,
besides having suffered from fire and neglect, had been disfigured by a long
series of repairs and embellishments, the character of which may be
inferred from the glaring instances pointed out in the letters just quoted. The
other alterations made in the interior may be briefly summarized as follows:
The level of the floor was raised by a thick deposit of earth; the walls were
enveloped in whitewash, to the concealment of the ancient mural paintings

and certain delicate sculptured ornament; and high pews were erected,
which reached almost to the capitals of the piers. The openings of the
triforium were bricked up—in some cases entirely obliterated—and at the
east end, above the altar-piece just mentioned, there rose a brick wall,
pierced with two ugly round-headed windows, filled with square panes of
glass, and destitute of mullions and tracery. The space between the
termination thus formed and the original apse went by the name of
"Purgatory," as a receptacle for human bones, some thousands of which
were found to have accumulated when it was cleared out in 1836.[16]

THE CHOIR BEFORE RESTORATION, SHOWING THE
FACTORY FLOOR EXTENDING OVER THE APSE AND
SUPPORTED BY TWO IRON COLUMNS

The secularization of this extreme eastern part of the church is traced to
the first purchaser from the Government, who held that the sanctuary was

bounded by the straight wall which there ran across it. A more modern
consequence than that just mentioned was the intrusion into the triforium of
a Nonconformist school, which was held there during the eighteenth
century, in connection with a chapel belonging to the particular
denomination immediately outside, having a convenient access to the
triforium from its own galleries. Another encroachment was a fringe
manufactory, which extended westwards along the triforium so as to include
Prior Bolton's window, and held its ground for some time after the main
arcading of the apse had been restored. Visitors to the church before the
restoration was complete will remember a substantial iron bar which was
carried across the curve, above the altar, to strengthen the walls—an
eyesore which could not be removed till the intruding factory was bought
out (vide infra).

The real work of restoration was begun in 1863 by the late Rev. John
Abbiss, then Rector of the parish, who raised something like £5,000, and
spent it in reducing the floor to its original level, removing the pews (which
had previously been lowered), repairing the walls and piers, and rebuilding
the central part of the apse, which had been pulled down early in the
fifteenth century, as already explained.

Outside the church a dry area was formed for the better protection of the
fabric against the subsidence known to follow on the ignorance, or
indifference, of early builders as to underlying strata. All this was
accomplished in three years, when the money was exhausted, and a fresh
fund had to be created for the continuation of the restorative work. In
raising subscriptions the then patron of the living, the Rev. F. P. Phillips,
was well supported by the parishioners, the City Companies, the Charity
Commissioners (out of the City Ecclesiastical Funds), and the general

public, with the result that a sum of over £28,000 was got together. The
chief individual contributor was the patron himself, who purchased the
projecting fringe factory for £6,500,[17] and completed the restoration of the
apse at his own expense. At the same time the church was provided with a
new roof, and the blacksmith's forge, which occupied the site of the north
transept, was bought out. On the 30th November, 1886, the restored
portions were formally opened, the actual work having started about two
years before, under the active interest of the Rev. William Panckridge, who
succeeded Mr. Abbiss in the Rectory.

The long list of works undertaken and completed from 1887 to 1893,
under the succeeding Rector, the Rev. Sir J. Borradaile Savory, Bart.,
includes the restoration of both transepts, the opening out of both sides of
the choir triforium,[18] the erection of the north and west porches, the
refacing of the west front, the reparation of the brick tower, and the re-
hanging of the bells, besides numerous external and internal details.

The crowning work was the reconstruction of the Lady Chapel, which
was not completed till 1896, after the tedious business of releasing it from
its secular holders, and the recovery of the original design amidst the
mutilation in which they left it. The whole has been admirably carried
through by Sir Aston Webb, R.A., who has restored the precious fabric as
nearly as possible to its original state, by replacing what was destroyed, and
revealing what was concealed when the difficult task was committed to
him.

The restoration has since been extended to three bays on the eastern side
of the cloister, all that remained of the original quadrangle, and these in a
sadly ruinous state. Whether the cloisters were completed by Rahere is a

matter of conjecture; but it may be fairly assumed that they were begun by
him as a necessary part of the monastery. The surviving Norman fragments
point to the twelfth century as the date of their first erection. It is certain
that they were rebuilt in the fifteenth, for besides the architectural remains
of that period, there is historical evidence that the work was done under
Prior John Watford soon after his appointment in 1404. For in September,
1409, Pope Alexander V, when making a grant of Indulgences to those who
visited and gave alms at the church on Maundy Thursday, Good Friday,
Holy Saturday, and the Feast of the Assumption, expressly mentions the
reconstruction of the Cloisters and Chapter House by the Prior among the
reasons which had induced him to confer the privilege.

When the monastery was suppressed, the archway leading into the east
cloister from the church was built up, and the doors were taken from it—in
all probability to be transferred (in 1544) to the principal entrance at the
western end of the truncated building.

In the reconstruction attempted by the Dominican Friars, it seems that,
instead of re-opening the cloister-arch to its full extent, they contented
themselves with inserting a smaller doorway within it, the jambs and lintel
of which were discovered in the rubble masonry when the arch was opened
out in 1905. On the suppression of the Dominicans by Queen Elizabeth, the
cloisters passed again into secular hands, and disappear from history until
the year 1742, when there is a record of the stabling that occupied the ruins
till our own day, with the temporary interruption of a fire in 1830, which
brought most of the eastern side to the ground. The stables were afterwards
rebuilt, and left undisturbed till 1900, when negotiations were opened for
the purchase of the freehold from the owners.

It was not till Michaelmas, 1904, that possession, even of a part, could be
obtained, as there were various leasehold interests to be reckoned with, and
many beneficiaries to be satisfied, whose rights will not be finally
extinguished until June, 1926. But excavation was at once commenced, and
the actual rebuilding in 1905. It need hardly be said that all that has been
discovered of the ancient work, here and elsewhere, whether above or
below ground, has been carefully preserved, and incorporated (as far as
possible in situ) into the restoration.

Footnotes

[1] I. "Liber fundationis ecclesiae et prioratus S. Bartholomaei in West-
Smithfield, London; per Raherum qui illic religiosos viros secundum regulam S.
patris Augustini aggregavit, iisdemque per XXII annos prioris dignitate et officio
functus praetuit, et de miraculis ipsius."
II. "Idem liber Anglice."
Both are on parchment, in pages of the same (quarto) size, and bound together in
a single volume of eighty-three leaves, divided almost equally between the Latin
and English versions.—Cottonian MSS. Vespasian, B. ix.
[2] "When he attained the flower of youth, he began to haunt the households of
noblemen and the palaces of princes, where, under every elbow of them, he
spread their cushions, with apings and flatterings delectably anointing their eyes,
to draw to him their friendships. And yet he was not content with this, but
haunted the King's palace, and among the noisefull press of that tumultuous
Court enforced himself with jollity and carnal suavity, by the which he might
draw to him the hearts of many a one."—Cottonian MS., ut supra.
[3] Cottonian MS.
[4] Ibid.
[5] This Richard de Belmeis (Beauvais) was the first of two bishops of the same
name, and held the See of London for twenty years (1108-1128).
The name of Rahere, which appears in various forms, suggests a French origin;
and from the fact that it occurs in the signature, or attestation, of certain
documents discovered in Brittany, as well as from the close relations between the
bishop and the founder of St. Bartholomew's, it is conjectured that they both
came from the same neighbourhood. Otherwise their joint interest in the
foundation at Smithfield is sufficiently accounted for by the benevolent object
and the situation within the London diocese.

Leland gives the credit of the foundation to Henry I, as having granted the land
out of the royal domain.
[6] The Canons Regular of St. Augustine (of Hippo) are said to have been
founded at Avignon in or about 1061. Their first establishment in England was at
Colchester (circa 1105), where the picturesque ruins of the Priory Church,
dedicated to St. Botolph, are all that remain of the monastic buildings. The habit
consisted of a black cassock with a white rochet, over which a black cloak and
hood were worn, thus leading to their familiar name of the Black Canons—not to
be confused with the Black Friars, a Dominican Order of mendicants,
introduced at St. Bartholomew's Priory under Queen Mary. From an anecdote
related by Matthew Paris (under the year 1250), and quoted in most accounts of
the Priory, it seems that the inmates, while recognizing the authority of the
Bishop of London, were extremely jealous of outside interference. The
Archbishop of Canterbury (Boniface of Savoy) had ventured to include St.
Bartholomew's in one of his visitations. He was received with becoming dignity
by the sub-prior, but politely warned against going beyond his jurisdiction. This
so enraged his Grace that he struck the sub-prior in the face, and, "with many
oaths," rent in pieces the rich cope he was wearing, treading it under his feet, and
thrusting the sub-prior against a pillar of the chancel with such violence as
almost to kill him. A general conflict followed between the Canons and the
Archbishop's attendants, which was taken up outside and set the whole city in an
uproar.
[7] Vide Dr. Norman Moore's edition from the copy in the Record Office.
[8] There had been a decline in public interest for some years before 1691, when
the abuses which had grown round the celebration led to its reduction from
fourteen to four days: but the fair lingered on in a degenerate state till it was last
proclaimed by the Lord Mayor in 1850, and finally ceased in 1855. The live
cattle market, so vividly described, with its attendant nuisances, in the twenty-
first chapter of "Oliver Twist," was closed at the same time, and the business
transferred to the new Caledonian Market. The open pens at Smithfield have
been superseded by covered buildings, to which the old Newgate Market has
been removed, and considerably developed, for the sale of meat, the slaughtering
for the most part being done locally in the various places whence the supplies are
derived.
The memory of old associations is preserved in the street which runs along the
north side of the church, and still bears the name of "Cloth Fair": and the site of
"Pye Corner," where the great fire of 1666 reached its limit, is marked by a tablet
in the wall, at the entrance to Cock Lane in Giltspur Street, a short distance to the
south-west. The place took its name from the "Court of Pie-Powder," which was
held during the fair here, as at similar gatherings throughout the country, to deal
expeditiously with disturbers of the peace. The etymology is traced to the old
French pied pouldré, with supposed reference to the dusty feet of pedlars and
others who came before the court—now extinguished in the more modern Petty
Sessions.

A lively description of the fair, in its palmy days, is given in a tract, printed in
1641 for Richard Harper at the "Bible and Harp" in Smithfield, entitled,
"Bartholomew Fair, or varieties of fancies, where you may find a faire of wares,
and all to please your mind, with the several enormityes and misdemeanours
which are there seen and heard."
Among the more gloomy associations of Smithfield are the martyrdoms which
took place there during the Marian persecution of 1555-57. Of the victims, John
Rogers, John Bradford, and John Philpot are commemorated in a modern tablet
let into the wall of the hospital facing the square where they suffered. The church
to their memory, referred to in the inscription, is in St. John Street Road, where it
was built as a Chapel-of-Ease to the parish church of St. John-of-Jerusalem,
founded by the Knights Hospitallers in 1185.
[9] The late Mr. J. H. Parker was inclined to think there was a tower in each
corner (though two only could be represented in the seal), as was not unusual in
France and elsewhere, but rarely the case in England. (See his lecture delivered
in the church on 13th July, 1863.)
[10] Vide "Henry VIII and the English Monasteries," by the Rt. Rev. Abbot
Gasquet, D.D., O.S.B., for an able statement of the case for the communities:
and an article by G. G. Perry ("Eng. Hist. Review," April, 1889), on "Episcopal
Visitations of the Austin Canons," for some cases of laxity.
[11] The Dominicans were introduced at St. Bartholomew's in 1556, when their
old monastery (dating from 1276), near the north end of Blackfriars Bridge, was
no longer available. Possibly their work and reputation in making converts may
have had some influence on the choice of the Order, which, moreover, was
governed by the Augustinian rule, adopted (with additions) by their founder in
1215, and so far brought the community under the traditions of their
predecessors. The members at Smithfield consisted of English, Spanish, and
Belgian friars, and Fr. William Perrin, O.P., was appointed as their chief. When
he died in 1558, Fr. Richard Hargrave was elected in his place, but was not
allowed to take office, apparently in view of the suppression which was
impending when the Letters Patent from the General, confirming his election,
reached England in the following year. By the time of the actual expulsion (13th
July, 1559) the community had been reduced by deaths and migrations to "three
priests and one young man," who would seem to have conformed, in preference
to leaving the country. (Vide "The Elizabethan Religious Settlement," ch. iv, by
Dom H. N. Birt, O.S.B.)
For the general history of the Black Friars the reader is referred to Archbishop
Alemany's "Life of St. Dominic, with a Sketch of the Dominican Order," the
"Etudes sur l'Ordre de St. Dominique" by D'Anzas, and "The Coming of the
Friars" by Dr. Aug. Jessopp. The "Chronica Majora" of Matthew Paris afford
some lively reading on the subject.
[12] It is possible that investigations now pending may involve a slight
rearrangement of this conjectural plan, as those previously drawn have similarly
been modified from time to time by fresh discoveries.

[13] This suggestion of Bishop Grindal's recalls the case of Beaulieu Abbey
where the beautiful refectory is still preserved as the parish church.
[14] The church had been "restored" in 1789 by Mr. George Dance, architect to
the hospital, in a spirit which may be inferred from the description of the interior
given above. A more sympathetic restoration was inaugurated by Mr. Philip
Hardwick in 1823.
[15] When the church was repaired by Mr. John Blyth in 1836, this painting was
removed, and a range of columns, bearing small semicircular arches, substituted
for it as a reredos. During these alterations it was discovered that the stone wall
(erected by de Walden) between the wooden altar-piece and the original apse,
was painted in bright red tempera, sprinkled with black stars.
The above-mentioned letters are attributed to Mr. John Carter, but are merely
signed by "An Architect."
[16] It would probably be unfair to infer any unusual neglect in spiritual matters
from the architectural conditions. In Paterson's "Pietas Londinensis" there is a
list of public services at many London churches, as held in the early part of the
eighteenth century. The services at St. Bartholomew-the-Great are there quoted
as "Daily in the last week in the month at 11 a.m. and 5 p.m.," and at St.
Bartholomew-the-Less as "Daily at 11 a.m."
[17] It should be stated that the fringe factory had covered the remains of the
crypt and Lady Chapel, besides projecting some twenty feet into the east end of
the church. The architects for these earlier restorations were Professor Hayter
Lewis and Mr. Slater, who deserve credit for their careful preservation of the old
work.
[18] The obstruction on the south side of the triforium has been already
mentioned. The northern side was used for the parochial boys' school for many
years down to 1892, when the scholars were transferred to the new schools built
for them adjoining the church.

THE PRIORY CHURCH FROM THE WEST

VIEW FROM THE WEST
From a print of 1810

CHAPTER II

THE EXTERIOR

The church lies in a general east and west direction, and, at the present
day, consists of the Choir and encircling Ambulatory, Lady Chapel, north
and south Transepts, with the lower stage of the central Tower, one bay of
the ancient Nave, three bays of the Cloister, and a seventeenth-century brick
Tower—the whole hidden behind the houses, in an obscure corner of West
Smithfield, by no means easy for a stranger to discover. It will be well for
him, therefore, in the first place, to make his way to the better known
buildings of St. Bartholomew's Hospital, and then walk across the open
square, between them and Smithfield Market, to its eastern side, where he
will find the entrance close to the narrow street called Cloth Fair.

The Gateway is interesting, as a surviving fragment of the Early-English
period, supposed by some authorities to mark the site of the original west
front, of which they regard it as having formed part—the entrance to the
south aisle—which was allowed to stand, after the grand central porch, and
a corresponding doorway on the northern side, were destroyed with the
nave. More probable is the conjecture that it was merely the entrance to the
monastic enclosure, turned to account as a ready-made structure when the
work at the church was the reverse of constructive, as it seems too large and
too high for a mere doorway at the end of an aisle, besides being rather too
far from the church to agree with its supposed dimensions. The modern iron

gate is surmounted by a gilded cross and the name of the church on a
framework in the tympanum. The arch is acutely pointed, and moulded in
four orders, with a tooth ornament in the hollows, and is in tolerably good
condition; but the supporting shafts have been superseded by a wall on each
side, with the circular moulded capitals (much decayed) above it, the bases
either being destroyed or buried in the earth beneath. The gateway is in a
line with the houses facing the public square, which touch it on both sides,
and are carried on without interruption above the opening.

When the floor of the church was lowered to its original level in 1863-6,
the present approach to it was made by an excavation through the
churchyard, which covered the site of the nave, and is now walled off on the
northern side of the passage.

The gravestones are of comparatively modern date, and of no special
interest. A few of them have been left against the wall on the right, where
there is something of more antiquarian value in a collection of débris from
the old building, containing the bases of some of the Early-English columns
in their original place, but hopelessly mutilated.

The existing West Front dates from the time when the nave was
destroyed. In 1893 a great improvement was made in its appearance by
refacing the wall with flint and stone, and otherwise ornamenting the
surface, to bring it into uniformity with the porch which was then built at
that end of the church. There are now three round-headed recesses in the
central portion of the wall, those at the extremities containing narrow
windows; a band of chequered stonework is carried across the space
beneath them, and a small circular window inserted above. It may be
mentioned here that the pointed arch has generally been adopted in the new
work, to distinguish it from the old, but the characteristic massiveness and

predominant scale of the original has been preserved throughout the
restoration. A practical illustration of these principles will be seen in The
Porch, as an ingenious compromise between the older and newer types of
architecture which are brought together in the main fabric. It is built of a
combination of flint and Portland stone, like the wall-front just described,
with which it is connected by a small circular tower and an oblong
extension on the northern side. The two storeys of which it consists are
divided externally by a band of chequered diaper. The shallow arch of the
doorway is simply moulded and very slightly pointed, suggesting a
transition from the Romanesque to the Early-English style, while the
Perpendicular is represented in the battlements on the roof and the
octagonal turret on the southern side. In a niche above the apex of the arch,
and on a bracket displaying the Priory arms, upheld by two angels, stands a
figure of Rahere, the founder, with his left hand raised in benediction, and
in his right a model of the church. The design of this little edifice is taken
from one of the ancient seals (see Illustration 9 in the Appendix), and shows
the central tower, with a round turret at each end, and a small building
(probably the original Lady Chapel) projecting from the east. Rahere's
features are copied from the effigy on his tomb, which is believed to be an
authentic portrait. The figure occupies the central position in the higher
storey, with three arched recesses on either side (the middle one in each
case containing a window), diminishing in height outwards, in harmony
with the lines of the roof. The ceiling within the porch is groined in four
divisions; and the "priest's chamber" above it makes a convenient private
room for the rector of the parish. This new porch bears its own date (1893),
and the date of the foundation, seven hundred and seventy years earlier.[1]

The Brick Tower, built in 1628, is said to have been altered to some
extent in subsequent repairs, which have not improved its appearance. So at

least say the admirers of King Charles I, who argue that nothing quite so
hideous could have been erected in his reign. It is a plain square structure,
seventy-five feet in height, in four stages, gradually diminishing in area
upwards, the lower part supported by buttresses, and the summit crowned
by battlements, with a small bell-turret and vane. More interesting than the
tower itself—which is, in fact, an incongruous addition to the church—are
the Bells which it contains, a precious inheritance from the Augustinian
Canons, and in some respects the most remarkable in London. The foundry
stamp shows them to have been cast by Thomas Bullisdon, who died about
1510. They are the smaller five of a ring of twelve, six of which were sold
at the Dissolution to the Church of St. Sepulchre, Holborn, where they have
since been re-cast, and one has disappeared from history.

The measurements and inscriptions are as follows:

1. Sancte Bartholemeo: Ora pro nobis. Diameter 22 in.
2. Sancta Katerina: Ora pro nobis. Diameter 24 in.
3. Sancta Anna: Ora pro nobis. Diameter 26¾ in.
4. Sancte Johannes Baptiste: Ora pro nobis. Diameter
29¼ in.
5. Sancte Petre: Ora pro nobis. Diameter 31 in.

The clock-bell, in the cage on the top, is inscribed, "T. Mears of London
Fecit 1814." Diameter about 25 inches.

The churchyard is overlooked on its northern side by the back windows
of some rickety old wooden houses, suggestive of an easy conflagration,
and dangerously near the church. They date from the time of Queen
Elizabeth, and stand on a piece of the ground formerly devoted to
Bartholomew Fair, the memory of which is perpetuated in the adjoining

street (Cloth Fair), where the humble shops in front of the same houses are
said to be a survival of the ancient booths. They run close up to the North
Porch, which projects into the street from the transept. It was erected in
1893, at the same time that the transept was restored. The porch is similar in
material and character to that on the west, with some differences in detail,
the chief of which are that the figure over the door represents St.
Bartholomew, with only one window on each side of it—in this case
square-headed, with a label-moulding—and the chequered diaper covers the
whole wall-surface of the upper storey. The Saint is raising his right hand in
the act of blessing, and holds in the left a knife, which has become his
emblem, as the instrument of his passion. A scroll entwined about the effigy
bears the appropriate words (in English) from Rahere's vision: Almighty
God this spiritual house shall inhabit and hallow it. The upper chamber
here is reserved for the mission-lady working in the district.

THE NORTH PORCH

The face of the transept visible above displays three lancet-headed
windows of the clerestory; the spaces are laid out in ornamental panels; and
there is an octagonal turret on the right, with battlements and a pointed roof.

The rest of the church is hemmed in, and for the most part concealed, by
tumble-down houses, forming a labyrinth of narrow winding passages about
the walls, and even encroaching upon them—a bit of old London which has
escaped the modern spirit of improvement, and would appear to be full of
suggestive material for the writer of romance. As we thread our way
through this network round the east end and south side, to reach the
entrance once more, we get an occasional glimpse of the choir and Lady
Chapel through a gap in the surrounding buildings; but are far more
impressed with the sense of poverty and ruin than by anything in the way of

architecture, which can be much better seen and described from within. The
new schools in the south-east corner (built to supersede the old structure
which still remains attached to the north triforium) are worth a visit en
route: and so, perhaps, is the abandoned burial-ground outside the south
transept, if only as a melancholy souvenir of the past.

The church is open every day, and the services are as follows:

Sundays
8.15 a.m. Holy Communion.
11 a.m. Mattins.
11.45 a.m. Holy Communion (choral) and Sermon.
4 p.m. Children's Service and Catechizing.
7 p.m. Evensong and Sermon.

Saints' Days
8.15 a.m. Holy Communion.
11 a.m. Mattins.
8.30 p.m. Evensong and Sermon.

Ordinary Days
11 a.m. Mattins.
4 p.m. Evensong, except on Wednesdays, when the
arrangement is the same as for Saints' Days.

FOOTNOTE

[1] Within the porch a tablet on the south wall gives a list of the Priors and
Rectors. On the opposite wall another tablet, recording some of the restorative
work, forms part of the memorial to Sir Borradaile Savory. For the rest of the
memorial see notes on pp. 48 and 57.

VIEW OF THE CROSSING FROM THE TRIFORIUM

CHAPTER III

THE INTERIOR

As soon as the visitor enters the church, he will be able to contrast the
Norman work of the twelfth century with that which succeeded it in the
thirteenth, as both are brought into juxtaposition immediately within the
western doorway. The surviving Bay of the Nave, which probably marks
the boundary of the monastic choir, now answers the purpose of a vestibule
to the church, from the body of which it is separated by the organ-screen,
the instrument being carried on a gallery built against the western wall. The
nave arches, at each end of the passage thus formed, are semicircular in
shape, with a zigzag moulding on the inner sides, and rest on massive
rounded piers, with square bases and abaci and simple cushioned capitals—
the whole obviously of early twelfth century date. The northern arch has
been built up, and a small Tudor doorway, inserted in the wall, gives access
to the transept.

At right angles with the southern arch, and on each side of the entrance to
the choir aisle, or ambulatory, there is a cluster of Early English Columns,
still bearing a portion of the vaulting-shafts, from which it can be seen that
the pitch of the roof to the nave aisle was much higher than that of the
ambulatory to which it was attached, probably implying a corresponding
difference in the height of the nave. The slender columns on both sides are
alike in their moulded bases, which resemble those left (in situ) among the

ruins outside, as far as the latter can be discerned; but there is an interesting
variety in other details, the capitals of the northern group being cut into
foliage, while they are moulded on the south, where also the shafts are
banded.

The Organ-screen (modern) is an elegant piece of work in oak, panelled
and canopied in the Perpendicular style. With the organ-front above, it
forms an admirable background to the choir-stalls, which are arranged in
the space within the old central tower, the seats for the congregation being
carried along towards the east, facing each other chapel-wise, in
continuation of the stalls on either side. A description of the organ will be
found in the Appendix.

THE SOUTH AISLE FROM THE WEST, SHOWING THE EARLY
ENGLISH SHAFTS

The Tower Arches are worth particular notice. Those on the north and
south are pointed, and much narrower than the others, which have a bold
semicircular sweep. An intelligible reason sometimes assigned for the
difference is that the area enclosed is not exactly square, and that it became
necessary for the builders to carry the transept-arches to a point, to
accommodate them to the oblong plan, and bring the upper mouldings into
line with those of the rounded arches between the choir and nave. On this
supposition the result has been called "an incidental use of the pointed
arch," examples of which occur elsewhere (e.g., at Christ Church, Oxford,
and other churches of the transitional period) before it became a
distinguishing feature of the later style. It is tolerably certain, however, that
the tower was rebuilt in the fifteenth century, and that the north and south
arches were then altered from their first design. And their appearance is
strongly in favour of a reconstruction; for it will be noticed that, instead of
the usual elegant inclination in a continuous curve from the spring to the
apex, they rise perpendicularly for some distance above the piers on either
side, and then take rather an abrupt turn inwards, suggesting the imposition
of a pointed heading on an original stilted form. Further signs of alteration
appear on the northern side, where the capitals have been recut in the
Perpendicular fashion; but the Norman pilasters and mouldings on the south
remain untouched. On both sides the double serrated line of moulding
claims attention, as an example of the "saw-tooth" ornament found in early
work. A difference will be observed in the corbels supporting the mouldings
of the eastern and western arches. The former are much more boldly cut,
with all the appearance of original work, while those on the west would
seem to have been modified by some architect of the Perpendicular age. In
the decoration of the inner tower walls there is a lozenge-shaped panel in
each of the spandrels, sculptured into a floral ornament something like the

Greek honeysuckle, a shallow arcading in the angles, and a cornice of
zigzag moulding extending round the walls, immediately below the modern
ceiling (1886) of panelled oak.

The piers at the angles of the tower are not very much more massive than
the adjacent walls, and do not strike one as capable of sustaining a
superstructure of any great weight. It may therefore be inferred that the
tower was a low one, as is in fact borne out by the representation on the
Priory seal, where the circular turrets at each end of the church are shown to
exceed it in height. The North Transept, which had been occupied for
many years as a blacksmith's forge, was re-opened on 5th June, 1893, after
restoration to something like its original state. It is now used as a morning
chapel, with an altar in a recess on the north side, slightly to the east of the
porch already described, by which the church is entered from Cloth Fair.[1]

THE NORTH TRANSEPT AND SCREEN

THE NORTH TRANSEPT FROM THE SOUTH

Both transepts had been injured by fire, and were originally much deeper
than they are at present, but to have rebuilt them exactly on the old lines
would have involved the suppression of a right of way and the purchase of
neighbouring properties, besides adding to the cost of heating and
maintenance, expenses which the funds would not allow. Here, as
elsewhere, the old work, as far as it remained, has been left undisturbed,
and simply incorporated into the new, the architect contenting himself with
removing the modern walls which had been set up at the extremities to keep
out the weather, providing abutments to strengthen the central arches, and
supplying what was wanted to complete the first design within the more
limited area. During the reconstruction of this transept the fine arcaded

Stone Screen was revealed which separates it from the space within the
tower. The screen was buried some four feet in earth, and the upper part
entirely concealed by the smithy. The style shows it to be of the fifteenth
century, when there was probably a similar screen on the opposite side of
the choir, the two backing the stalls, which are known to have been carried
under the tower. The existing screen is divided into two wide arches,
slightly depressed, with a moulding in four orders. It has been refaced on
the choir side, and a partition of ironwork, ornamented with coloured coats
of arms, inserted in the open spaces, to serve as a barrier without
obstructing the view in either direction.

Under one of the arches there is a stone coffin, with a much decayed
cover of Purbeck marble, which is supposed to have contained the body of a
Prior. It was opened for examination during the rebuilding, when a skeleton
was found within it, with sandals still on the feet, but as the skull was gone
it was evident that the coffin had previously been opened. In the arch by its
side there was another coffin of the same character, which has unfortunately
been shifted to the north ambulatory. It is without a cover, and the skeleton
is no longer there; but the leaden envelope remains, more or less in the state
in which it was folded round the corpse. The arched recess on the east, by
the side of the opening to the ambulatory, is supposed to have been the
entrance to the Walden Chantry; but it has been built up with a return-wall.

The triforium is continuous through all three walls of the transept, each
bay consisting of a double pointed arch, except that above the ambulatory,
where the surviving Norman fragment shows three round-headed openings,
included in a semicircular arch with billet moulding. The clerestory in the
north wall, where the work is entirely new, is ornamented with a traceried
arcading on an interior plane, which has a very beautiful effect.

The South Transept, opened after restoration on 14th March, 1891, had
been turned to account as a burial-ground, supplementary to that at the west
end. The side walls were allowed to stand for the enclosure, but the south
wall was pulled down, and another erected within the space, to separate the
"Green Churchyard," as it was called, from the church. In this case,
therefore, the restoration meant little more than the removal of the
intercepting wall to open out the transept, and building a new one at the
extremity, with a partial reconstruction of those which were decayed to
connect them with it. In the renovation of both transepts blue Bath stone has
been used internally, and Portland stone with flints for the exterior. The
conservative nature of the work is here seen in the side walls, each of which
retains a bay of the old Norman triforium, with its round-headed divisions,
to which a new bay has been added, with a slightly pointed arcade, as a
connection, without any violent contrast, between the older parts of the
transept and the new south wall. This presents an agreeable variety to that
facing it in the opposite transept. In the upper stage, instead of a triforium
and clerestory, there are three tall windows of two lights each, the central
being carried above the others, and distinguished by a more ornate tracery,
here taking a cruciform pattern above the trefoil-headed divisions, instead
of a foliated circle as in the side windows. The arcading in which they are
all placed is severely simple in character, the slightly pointed headings
resting on plain shafts, with moulded bases and capitals—the whole
composition a pleasing relief to the heavier architecture on each side
without being discordant. The same may be said of the lower stage, also
arcaded in three divisions, corresponding with those above, but rather more
massive in character. The central arch forms a porch, giving access to the
church on that side, with a recess to the east and west of it, each lighted by a
dwarfed window. The eastern of these recesses answers the purpose of a

baptistery. The Font dates from the early fifteenth century, and is octagonal
in shape, with a tall cover, crocketed at the angles, suspended on a swivel
above it. The facets of the octagon are perfectly plain, but there is an oblong
incision in one of them which looks very much like the matrix of a brass, or
the seat of a sculptured panel, which has been removed. There is a
traditional interest attaching to the font as that in which William Hogarth,
the famous painter and satirist, was baptized. He was born in Bartholomew
Close on 10th November, 1697, and his baptism is entered in the parish
register on the 28th of the same month.[2] It is recorded that the font had a
narrow escape in the eighteenth century, when the Vestry ordered it to be
removed for a new one, but fortunately the order was never carried out.

In a recess on the eastern side of the transept there is a monument to
Elizabeth Freshwater, whose effigy, in the costume and ruff collar of her
time, is shown kneeling at a small priedieu, with English and Latin
inscriptions beneath:

Here lyeth interred the body of Elizabeth Freshwater, late wife
of Thomas Freshwater, of Henbridge, in the County of Essex,
Esquire; eldest daughter of John Orme of this parish,
Gentleman, and Mary his wife. She died the 16th day of May
Anno Domini 1617, being of the age of 26 years.

Ut sic trina uno vulnere praeda cadat?
Unam saeva feris; sed et uno hoc occidit ictu
Uxor dulcis, amans filia, chara soror.

(= O hasty death, how hast them so contrived
Thy darts with venomous poison to direct
That, by one cruel stroke, not one but three are killed,
Sweet wife, a loving daughter, sister dear!)

The doorway beneath the monument opens on the staircase to the south
triforium.

The Choir, now restored as nearly as possible to its original state,
consists of five bays on each side, with an apsidal termination of five
arches, distinguished from the others (mainly semicircular) by their "stilted"
form and much narrower span, which, in fact, measures no more than the
diameter of the intervening columns, and gives an appearance of extra
massiveness to the east end of the church. All the arches display some
approximation to the "horseshoe," in a slight inward inclination on either
side towards the capitals on which they rest; but the shape is very definitely
assumed in each of those immediately contiguous to the transverse curve.
These are of the genuine "horseshoe" pattern characteristic of Arabian or
Moorish buildings; and their exact similarity in detail, with their position
facing one another at each extremity of the apse, would seem to indicate a
structural necessity, or deliberate intention in the design, which, neither here
nor elsewhere in the arcading, is to be attributed to any subsidence, or
imperfect workmanship, sometimes held to account for the deflection as a
mere accident.

THE FONT AND THE FRESHWATER MONUMENT

INTERIOR FROM THE EAST, SHOWING PRIOR BOLTON'S
GALLERY

The character of these arches, with the slightly domical vaults noticeable
in the adjacent aisles, has led some persons to detect an Oriental influence
in the building—possibly traceable to the visitors from Byzantium whom
the founder is said to have consulted while it was in course of erection—
though it is argued to the contrary that these features are sufficiently
accounted for by the general tendency of Anglo-Norman architecture at the
time, as illustrated elsewhere.

The arcading throughout rests on massive piers and circular columns,
with square bases and abaci (incised at the angles) and low cushioned
capitals, ornamented with a simple scallop. Above the arches, on the choir
side, there is a billet moulding, which is considered unique in that, instead

of forming a separate decoration to each arch, it is carried along
horizontally above the abaci on either side in a continuous line of ornament.

The Triforium consists of a series of rounded arches, the piers from
which they spring being placed directly above those of the main arcade.
Each of the side bays is divided into four compartments by small columns,
above which the tympanum of the enclosing arch is occupied by a blank
wall. The sequence is, of course, interrupted by the oriel window in the
central bay on the south; and the narrower openings in the apse only admit
of a twofold division. There are said to have been originally windows at the
back of the triforium-gallery, as at Durham, Peterborough, and other
Norman churches of the same period; but the mutilation and rebuilding in
the external walls have greatly destroyed the original work.

Prior Bolton's Window was probably inserted about 1530, when the
device of a "bolt in tun" was officially authorized for Bolton's arms, on his
own choice, as presenting his name in the emblematical form then in vogue.
The window is an "oriel" in the Perpendicular style, separated vertically by
mullions into three lights in front, with one at each end of the projection,
and horizontally by transoms into an upper and lower tier, the former
having a trefoil heading to each division. There is a sloping hipped roof to
the window, and a broad moulded corbel below it. The well-known rebus is
boldly displayed upon the central of the five square panels (all sculptured)
which adorn the face of this picturesque chamber (oriolum), probably built
as a convenient private pew for the Prior, from which he could survey the
whole of the choir and the Founder's tomb. The Tudor doorway, which now
opens into the choir vestry at the eastern end of the south wall, has the
Bolton rebus in the spandrels of the arch.[3]

The Clerestory.—In his reconstruction here Sir Aston Webb has
followed the precedent of the Perpendicular work introduced in the fifteenth
century, which, fortunately, had not been seriously injured in the upper part
of the side walls. He has accordingly adopted that style in the apse, where
the clerestory arcade is entirely new. It displays a series of five windows of
two lights each, with traceried headings, and slender columns on the inner
and outer plane, sufficient to uphold the arcading without intercepting the
light—none too abundant in any part of the church, though it is entirely
destitute of stained glass at the present day.

The walls of the triforium and clerestory are perforated longitudinally to
form a continuous passage on each side of the choir—interrupted, however,
by the interposition of masonry at the junction of the lateral walls with the
apse.

The passage along the clerestory is formed by a succession of
"shouldered arches," as they are commonly called, though each merely
consists of a flat lintel resting on corbels, which is not strictly an arch at all.
As there are no signs of vaulting-shafts, it may be fairly assumed that the
original roof was a wooden one, probably painted, like those still in
existence at other Norman churches.

The present ceiling, about forty-seven feet above the level of the floor, is
of panelled oak (uncoloured), and supersedes an unsatisfactory timber
structure which had taken the place of the earlier Tudor work. It was
divided into compartments by a tie-beam and king-post at intervals,
supported on corbels representing the heads of cherubim—an innovation
more modern, and even more out of character with the building, than the
ceiling itself. The cross beams from the latter have been retained in the
modern work.

THE FOUNDER'S TOMB

The Founder's Tomb occupies a bay on the northern side of the
sanctuary. Resting on a simple base of rectangular stones, it consists of an
altar-tomb in the Perpendicular style, ornamented by four quatrefoil panels
in front, each displaying a shield of arms, above which runs the inscription:
Hic jacet Raherus Primus Canonicus et Primus Prior hujus Ecclesiae.

THE TOMB OF RAHERE
From an old engraving, showing the original extent of the arcaded
work, and the doorway now removed

The painted effigy of Rahere lies upon its back, vested in the black Habit
of the Augustinian Canons, the hands joined in prayer, and the tonsured
head reposing upon a tasselled cushion. At the feet an angel, with flowing
black hair, and crowned, is represented rising from clouds, holding towards
the recumbent figure a shield, on which the Priory Arms are embossed and
illuminated: Gules, two lions passant guardant: or, two ducal coronets in
chief.

On each side of the effigy a kneeling monk of the same Order is reading
from a book, opened at Isaiah, li, 3, as may be inferred from the words
distinguishable on the page nearest the spectator, the text obviously having

been chosen with reference to the ground on which the Priory stands:
"Consolabitur ergo Dominus Sion, et consolabitur omnes ruinas ejus: et
ponat desertum ejus quasi delicias, et solitudinem ejus quasi hortum
Domini."

The group is enclosed in a canopied frame of tabernacle work in three
divisions, elaborately carved, with a vaulted ceiling; and each of the panels
in the back wall is perforated with a small decorated window, unglazed,
probably inserted not only for ornament but for the benefit of pilgrims on
the ambulatory side of the shrine. The design is continued in a fourth panel
towards the east, with a blank wall behind it, and another separating it from
the actual tomb. Originally there were two other panels beyond this,
similarly arcaded, and carried over the face of the adjacent Norman arch,
which had a doorway beneath it leading into the ambulatory (see
illustration, p. 46). The canopy and panelling were added to the tomb in the
fifteenth century. It was repaired in the reign of Henry VIII, and the
painting has been more than once renewed, apparently with some
rearrangement of the arms in front, as they do not appear in the present
order in old engravings. Taking them from left to right they are now those
of the City of London, the Priory, England and France, and Sir Stephen
Slaney, Lord Mayor of London in 1595.

The sanctuary is paved with coloured tesserae and marbles, in a series of
five steps, the uppermost of which forms the predella, or footpace, to the
altar. The latter is of oak, and was presented by Miss Overbury, sister-in-law
to the Rev. W. Panckridge, Rector of the Parish from 1884 to 1887.

The somewhat classical design of the pavement is uniform throughout,
but the higher and lower portions are distinguished by separate inscriptions,

one across the chord of the apse, the other along the step immediately
within the railing. These inscriptions are respectively as follows:

To the Glory of God, and in memory of John Abbiss, 64 years
Rector of this Church, this Apse was rebuilt by his nephew,
Frederick P. Phillips, a.d. 1886. Let Thy priests be clothed with
righteousness.
Where I am, there shall also my servant be.
In memory of the Rev. Canon F. Parr Phillips, Rector of Stoke
d'Abernon, Surrey, and Patron of this Church. Died 17 March,
1903, aged 84.
Give unto the Lord the glory due unto His Name.
Bring an offering and come before Him.
Worship the Lord in the beauty of holiness.[4]

THE CHAMBERLAYNE MONUMENT

The Pulpit is built against a pier on the north side, midway between the
ordinary seats and the choir-stalls. It is a low oblong structure, with a short
flight of steps at each end, and is ornamented in the upper part with a series
of panels, arcaded and perforated to resemble small windows.

The Hopton Wood stone, or marble, as it is sometimes called, has a
delicate gray vein, which is brought out by polish on the cornice and
balustrade, as a relief to the unpolished surface elsewhere displayed. There
is no inscription; but visitors are usually told about Mrs. Charlotte Hart, the
apparently impecunious pew-opener at the church, who surprised her
friends by dying worth close upon £3,000, and by leaving £600 to the
restoration fund. A new pulpit happened to be wanted at the time, and the
bequest was applied in its erection.

THE SMALPACE MONUMENT

On the wall above is the Monument of Sir Robert Chamberlayne, an
elegant piece of Jacobean work, deserving a closer examination than can be
bestowed upon it without mounting the pulpit, and even there the
inscription is scarcely legible. The sculpture, which is extremely well
executed, represents Sir Robert kneeling in prayer within a circular
pavilion, the curtains of which are held up by an angel on either side. The
figure wears a partial suit of plate armour over the costume of the period,
and the (bearded) face is turned obliquely towards the east yet away from
the spectator, in the attitude of secret devotion. The tent is surmounted by a
rich cornice, above which the monument terminates in an ornamental
pediment displaying the crest of the deceased. The Latin inscription beneath
relates his descent, through the holders of Sherburn Castle, Oxon, from the

most ancient Tankerville family of Normandy; and adds that he was
knighted by James I, and died between Tripoli and Cyprus, on a journey to
the Holy Sepulchre, at the age of thirty-five, in the year 1615. The
monument was erected by an unknown friend (amico amicus), who
concludes with the pious ejaculation Coelo tegitur qui non habet urnam—
Heaven covers him who has no sepulchre!

On the south wall, facing this monument, there is another of some
interest and artistic merit. It is to the memory of Percival Smalpace and
Agnes his wife, whose boldly sculptured heads are projecting from separate
panels above the tablet containing the inscription. This is chiefly in Latin,
and informs us that the deaths occurred respectively on 2nd February, 1568,
and 3rd September, 1588, in the reign of Queen Elizabeth, and that Michael
and Thomas erected the memorial jointly to the best of parents.

The moral of the English lines

Behold yourselves by us;
Such once were we as you:
And you in time shall be
Even dust as we are now.

is enforced by a drawing, in outline, representing the nude figures of the
departed lying side by side upon a couch in the sleep of death—no doubt
intended as a memento mori of a less repulsive kind than the usual
desiccated corpse. The monument has been invested with a coating of
black, which at once conceals the whole of the marble (said to be brown),
and shows up the inscription and the figures, both clearly incised and
gilded.

The Ambulatory, which encompasses the choir, and is open to it on the
inner side throughout its course, is an interesting part of the original fabric,

and displays to full advantage the characteristic features of early Norman
work—here made more conspicuous by the low pitch of the roof, which
gives the columns and arches an appearance of even greater solidity than
really belongs to them. The semicircular arches which support the roof
spring from the capitals of the main arcade, and are merely wide bands of
stone, without moulding or adornment of any kind. The intermediate spaces
are equally plain, each compartment simply taking the quadripartite form
(without vaulting-ribs) to accommodate it to the arcading on which it rests.
The ceiling has been repaired with stone, and overlaid with plaster in the
panels, but the design has been left undisturbed, as a specimen of early
vaulting, rare enough to be worth preserving.[5]

THE AMBULATORY AND ENTRANCE TO THE LADY CHAPEL

Perpendicular work occurs here and there throughout the ambulatory,
conspicuously in the three recesses in the exterior wall on the north, each of
which contains a three-light window in that style. The first and second of
these recesses, or small chapels, are open to the ground level; but the third
(nearest the east) has been walled up beneath the window sill. Beyond it is
the door of the clergy vestry, which occupies the site of another chapel: and
in the curve of the wall towards the Lady Chapel there is a tablet which
usually attracts attention for the curious device upon it—three pillars
crowned by a garland of roses—and the poetical conceit of the epitaph,
which explains the emblem, and otherwise speaks for itself:

Sacred
To the memory of that worthy and lerned
Francis Anthony, Doctor in Physick.
There needs no verse to beautify thy praise,
Or keepe in memory thy spotless name.
Religion, virtue, and thy skil did raise
A threefold pillar to thy lasting Fame;
Though poisenous envye ever sought to blame
Or hyde the fruits of thy intention,
Yet shall they all commend that high desygne
Of purest gold to make a medicine
That feel thy helpe by that thy rare invention.
He dyed the 26th of May 1623, of his age 74.
His loving sonne John Anthony, doctor in physick,
Left this remembrance of his sorrow. He dyed
ye 28th April 1655, being aged 70 years, and was
buried nere this place, and left behind him 1 sone and
3 daughters.[6]

THE MILDMAY MONUMENT

Before leaving this northern side of the ambulatory it may be noticed that
the pavement is made up of an intermixture of gravestones with encaustic
tiles. The latter are not so old as they look, for they only date from 1863,
when the floor was reduced to its original level, exactly twenty-seven
inches below that which was removed, as shown by the marks on the wall
backing Rahere's tomb, at the line where the pavement was taken away. The
advantage as regards the proportions of the church is obvious enough; but a
question has been opened as to whether the intermediate pavement was
really so modern as had been taken for granted. It is suggested to the
contrary that it may have been first introduced during the Middle Ages,
when the increasing veneration for the East required a greater elevation for
that part of the church, to distinguish it from the less sacred nave, and give

proper dignity to the High Altar and its surroundings. In some accounts it is
positively stated that the floor was raised two feet six inches by Prior
Bolton early in the sixteenth century.

Continuing our perambulation past the Lady Chapel and Prior Bolton's
door (now leading into the choir vestry) at the eastern end of the south wall,
we come to the magnificent Tomb of Sir Walter Mildmay. It formerly
stood facing that of the Founder in the sanctuary, but was shifted to its
present place in 1865, and renovated by Henry Bingham Mildmay in 1870,
as stated in an inscription upon it, which, however, shows more signs of
decay than any other part of the monument, and is scarcely legible. This
very fine altar tomb is composed of various coloured marbles, panelled and
gilded in a design combining the Elizabethan form with the classical
ornament of the Renaissance, and is remarkable for the absence of figures
usually conspicuous in monuments of the same age. This peculiarity is
perhaps accounted for by the strong Puritan leanings of Sir Walter, who
took no pains to conceal them in his lifetime. He founded Emmanuel
College, Cambridge, in 1583, where his architectural work is pointed out, in
illustration of his principles, as running counter to all the traditions of the
Dominican Friars, whose buildings came into his hands after the
Dissolution, and formed the nucleus of his foundation. Instead of saints and
angels, or kneeling effigies, we have here eight shields of arms, showing the
family alliances, arranged in panelling round the central inscription:

Hic jacent Gualterus Mildmay, miles, et
Maria uxor ejus. Ipse obiit ultimo die
Maii 1589. Ipsa 16 die Martii 1576.
Reliquierunt duos filios et tres filias.
Fundavit Collegium Emanuelis Cantabrigiae.
Moritur Cancellarius et Sub-Thesaurarius
Scaccarii et Regiae Majestati a Consiliis.

(= Here lie Walter Mildmay, Knight, and Mary his wife. He died
the last day of May, 1589. She the 16th day of March, 1576.
They left two sons and three daughters. He founded Emmanuel
College, Cambridge. He died Chancellor and Sub-Treasurer of
the Exchequer, and a Member of Her Majesty's Council.)

There is a commendable absence of eulogy in the epitaph, and, instead of
any direct quotation from scripture, the motto, Mors nobis lucrum is given,
as an adaptation of Phil. i, 21. The tomb is surmounted by three classical
urns and the escutcheon of the deceased, with the legend, Virtute non vi. Sir
Walter was one of the Royal Commissioners appointed in 1586 for the trial
of Mary, Queen of Scots, at Fotheringhay Castle.

There are numerous other monuments in the church, and there were
formerly many more than now remain, but those selected for description are
the most important and the most interesting for their artistic merit.

The first rector of the parish, Sir John Deane, is commemorated in a
modern brass (1893) let into the pavement of the ambulatory on the
southern side of the chancel. It was inserted by the pupils of the Witton
Grammar School, Northwich, founded by Sir John in the year 1557.

The Lady Chapel is a restoration of that built about the year 1410. At
the Dissolution it passed into the hands of Sir Richard Rich, who converted
it into a dwelling-house, and in more modern times it was occupied by a
fringe manufacturer, as related in our historical sketch. The building was
recovered by purchase in 1885, and the reconstruction begun, which was
completed eleven years later. There are signs of an earlier chapel on the site,
which was considerably altered, or entirely rebuilt, in the fourteenth
century, as appeared from the architectural remains of that period

discovered within the fifteenth-century fabric—itself in a frightful state of
dilapidation—when the restoration was taken in hand.

THE LADY CHAPEL

Though every care has been taken to preserve the old work, with a strict
adherence to the general design, the greater part of the chapel is necessarily
new. It is separated from the ambulatory by an elegant screen of ironwork,
surmounted by a crucifix of white metal, which has been blackened into
uniformity with the rest of the screen so that it can hardly be distinguished
in the dim light. This characteristic of the church is preserved in the chapel
by the omission of an east window. In place of it the wall-space above the
altar is laid out in an arcading of five niches, with canopies and pedestals
arranged in parallel lines, providing for a double row of statues, not yet
inserted. The lower part of the wall is curtained, with a small canopy over
the altar, containing an oil painting of the Virgin and Child as an appropriate

form of reredos. There are three rather large windows on each side, of
which those on the south are entirely new, but the sills and jambs on the
north show a retention of fifteenth-century work. This appears again in the
walls on either side of the sanctuary, each of which contains an arcaded
recess of three divisions (the central glazed), those on the south forming the
sedilia. The sanctuary is paved with Roman tesserae and coloured marbles,
in agreement with the pavement beneath the High Altar, but of a less
elaborate pattern.[7]

THE CRYPT

The Crypt beneath the Lady Chapel has no internal connection with it,
but is entered by an outside door in the south wall. Like the rest of the
Priory buildings it has gone through many vicissitudes. Obviously built at
the same time as the chapel, it is supposed to have been used originally as a
receptacle for the bones exhumed from time to time in the neighbouring
canons' cemetery. Passing into secular hands at the Dissolution, it was
partly filled up with earth, and then used as a coal and wine cellar to the

dwelling-house above, and eventually formed part of the manufactory
before mentioned, the marks of which have been left here and there upon
the walls. The little building is now equipped as a mortuary chapel, with an
altar against the east wall, and an oblong space marked off on the floor
before it, with the usual lateral candlesticks, for the reception of a corpse.
As a general rule, however, the funeral services are held in the choir, where
there are greater facilities. Though extremely simple, the architectural
features are very interesting, the old work having been retained in the walls,
piers, and windows, the vaulting alone being new. This merely consists of
depressed arches, carried across from the north to the south wall, the
intermediate spaces being overlaid with plaster.

At the eastern end, above the altar, one of the window recesses has the
socket of an old iron hinge within it, and otherwise shows signs of having
been formerly occupied by a door, which may possibly have been the
original entrance. It is supposed that all the windows were left unglazed for
the sake of ventilation, but plain glass is now inserted. The recesses are very
deeply splayed in the thickness of the walls, and it will be noticed that the
exterior openings are above the level of the roof, so as to admit the daylight
obliquely, an ingenious contrivance to intensify the solemnities within,
where an artificial light is almost a necessity. The plain bands of stone
which constitute the vaulting are supported by shallow piers, or pilasters,
built against the lateral walls, and all alike in their general structure and
moulded bases; but there is a curious difference between those on the north
and south, which has given rise to some antiquarian speculation. In one case
(the north) the pilasters are carried down to the floor: in the other they rest
upon a stone plinth or skirting a few inches above it.

The Cloister, as next in importance to the church itself, and so
characteristic of a monastic foundation as to give a name to the whole, was
in all probability begun by Rahere, or at least some time in the twelfth
century. This may be inferred from the Norman work found and preserved
at the restoration—at present confined to three bays of the eastern side, at
right angles to the south wall of the church. The cloister was originally
continued parallel with this wall to the extremity of the nave, whence it
extended in the usual quadrangular form, each side consisting of eight bays,
enclosing the area known as the cloister-garth. That there was a
reconstruction under Prior John Watford, early in the fifteenth century, is
clear from the evidence already given, which is confirmed by the
architectural remains within the restored fragment—all that was in
existence, as a ruin, when the renovation was attempted.

THE REMAINING BAYS OF THE CLOISTER

The entrance is through a round-headed doorway in the south aisle—an
interesting piece of Norman work—but the doors are probably those
inserted during the fifteenth century reconstruction. It seems that they were
taken out when the nave was destroyed, and fitted to the main entrance in
the wall then built at the west end. Subsequently stored within the church
among the lumber which might possibly come in useful, they were found
exactly to fit the opening into the cloister, where they were re-hung in what
seems to be their proper place. The first bay on the right, which formerly
opened into the northern side of the quadrangle, is now occupied by a blank
wall, with some fifteenth century work on each side, and the Tudor door-
jambs within it, supposed to have been inserted by the Dominican Friars in
their restoration of the following century. The second and third bays contain
windows, with very fine modern tracery in the headings, and some old
Perpendicular work retained at the sides. The wall on the left (eastern) side
shows a similar intermixture of styles in its three unlighted bays. The
elaborately vaulted roof is for the most part new, but a few of the old
bosses, and some portions of the original vaulting-shafts recovered during
the excavations, have been incorporated into it, without renovation of their
surfaces, so that the ancient and modern can be easily distinguished. The
new bosses are sculptured with shields bearing respectively the royal arms,
the arms of the Diocese, the Priory, the late Rector (Sir Borradaile Savory),
and the City of London. The Priory arms form the central point in the
vaulting, surrounded by smaller bosses containing the emblems of the four
Evangelists.

On a table at the end of the cloister there is a small collection of stones
and encaustic tiles from the old building, and some more precious relics in a
case. These include a few broken pieces of stained glass, the metal seal
struck by Father Perrin for the Dominicans, a book of "Spiritual Exercises"

by the same Prior, and a charred fragment of Rahere's coffin and sandal,
which had been surreptitiously taken from his tomb.

Before leaving the church, the visitor is recommended to look through
the scrap-book of old engravings in charge of the verger, showing the
buildings in various phases of their history since the Dissolution. These
interesting pictures were presented anonymously, but a note on the fly-leaf
by Dr. Norman Moore, dated 23rd May, 1885, informs us that the donor
was William Morrant Baker, F.R.C.S., Surgeon to St. Bartholomew's
Hospital, Lecturer on Physiology, and Warden of its College. There is a
tablet to his memory in the Church of St. Bartholomew-the-Less.

A special permit is required for an inspection of the church registers.
They date from 1616, and show an average death-rate of ten in each month
till the year 1665, when the Plague of London brought up the entries to
about eighteen on each day.

The interior of the church presents an interesting perspective from almost
any point. A good general view may be obtained from the north-east or
south-west corner, and another from the organ-gallery, which is
recommended as commanding features not well seen from below in the
scanty light.

FOOTNOTES

[1] This altar is an interesting piece of (Jacobean?) woodwork which has recently
been uncovered. The low recess in which it stands seems better suited for a
tomb, or recumbent effigy, while the more lofty recess against the eastern wall,
originally supposed to have been open to the Walden Chantry, would hold the
altar admirably, and give it the proper orientation.
[2] There are two large canvases of his on the staircase of the Hospital
representing "The Pool of Bethesda" and "The Good Samaritan," besides four
smaller paintings, one of which gives "Rahere's Dream," and another "The
Building of the Priory."

[3] The manor of Canonbury, formerly included in the Priory estates, is said to
have been presented to the community by Sir Ralph de Berners in the reign of
Edward III. The Prior and canons built themselves a mansion there as a country
residence, and there is no doubt that the place takes its name from their
connection with it. According to Stow (Ed. Strype, vol. 1), the manor-house was
rebuilt by Prior Bolton, whose rebus on the walls of the tower seemed to prove
that it was either his work, or erected shortly after his time to his memory. The
house is a plain brick structure with gable ends, and the tower (of the same
material) covers a rather large square. The spacious rooms within it have some
literary interest, as at one time occupied by Ephraim Chambers, the
encyclopaedist (1680-1750), and by the more famous Oliver Goldsmith. The
whole building, renovated within and without, is now held by a social club. For
many years a fable was believed that a subterranean passage connected it with
the Smithfield Priory.
[4] The new bronze railing to the sanctuary forms part of the memorial to the late
Rector, the Rev. Sir Borradaile Savory, Bart. It is in the Renaissance style, and
the words from the Gloria in Excelsis ("We praise Thee," etc.), in each of its four
divisions, were selected by his successor, the present Rector, as suitable to the
place, and expressing the governing principle of Sir Borradaile's life, as well as
that of Rahere the Founder.
[5] The substructure in the chamber of the Pix, at Westminster, will be
remembered among the surviving examples of this early kind of vaulting in
England.
[6] Francis Anthony (1550-1623) lived in Bartholomew Close. He had obtained
the M.A. degree at Cambridge, but none in medicine, and having practised for
six months in London without a licence, he was summoned before the President
and Censors of the College of Physicians to give an account of himself. Failing
to satisfy his examiners, he was interdicted from practice, but ignored the
prohibition, and suffered more than one imprisonment in consequence. The
medicine "of purest gold" was a panacea, known as Aurum potabile, which was
supposed to be made from the precious metal, and certainly put a great deal of it
into the inventor's pocket, as a fashionable remedy for all kinds of diseases.
(See article in the "Dictionary of National Biography" for a sketch of his life.)
[7] A tablet, in the Renaissance style, has recently been affixed to the north wall
in memory of Sir Borradaile Savory, Bart., the late Rector. It was unveiled and
formally dedicated by the Bishop of Stepney, on Sunday, 10th May, 1908.

ST. BARTHOLOMEW-THE-LESS AND THE HOSPITAL GATE

CHAPTER IV

ST. BARTHOLOMEW-THE-LESS AND THE HOSPITAL

Visitors to Rome will remember the Isola Tiberina, which lies in a curve
of the river between the city and Trastevere, and is reached from the
respective sides by the Ponte Quattro Capi and the Ponte San Bartolomeo. It
was to the hospital on this island that Rahere was sent for medical treatment
in his illness; and it is possible that the disposing cause of his vision, with
its practical outcome, may be found in the circumstances of the place. The
island had been dedicated to Aesculapius on the strength of an ancient
Roman legend; and about the year 1000 the Emperor Otho III, erected a
Christian church there—probably on the site of a temple to the god—which
was named after St. Bartholomew, on the supposition that it contained the
saint's relics.[1] Below the church there are the remains of the old travertine
ramparts which gave the island the appearance of a ship on which the
edifice was resting—a fanciful picture of the "Navis Ecclesiae" as
reproduced in the twelfth century Priory seal. (Vide Fig. C, page 73) The
combination of a hospital with a church, suggested by the island and the
vision, was realized in Rahere's double foundation on his return to England.
Until the time of the Dissolution the corporate body of the hospital, and the
staff for attendance upon the patients, were identical, and consisted of a
master, eight brethren, and four sisters, all living in obedience to the
Augustinian rule. Unfortunately no record is preserved of the grant of the

site, or of the deed of endowment; but a Charter granted by Henry I in 1133
is extant, conferring certain privileges on the church, prior, canons, and
poor of the hospital. (Vide ante chap. i.) The annexation of the hospital to
the priory was subsequently confirmed by a Charter of King John in the
fifth year of his reign, which remained in force without material change till
the separation effected under Henry VIII. The connection involved the
presentation of each newly elected Master to the Prior of St. Bartholomew's,
or, if he refused institution, to the Bishop of London; the assent of the prior
and canons being, however, required before any one could become a
member of the Hospital Society. The Act of 1539 superseded all previous
legislation affecting the monastic foundations; the Priory and Hospital were
separated; and the revenues of both transferred to the royal exchequer. But
on the petition of Sir Richard Gresham, Lord Mayor of London, and father
of Sir Thomas Gresham, the Hospital was refounded by royal charter—27th
December, 1546, 38 Henry VIII—which restored the greater part of its
former revenues, in consideration of

the miserable estate of the poore, aged, sick, low, and impotent
people, as well men as women, lying and going about begging
in the common streets of the said City of London and the
suburbs of the same, to the great paine and sorrowe of the same
poore, aged, sick, and impotent people, and to the great
infection, hurt, and annoyance of His Grace's loving subjects,
which of necessity must daily goe and pass by the same poore,
sick, low, and impotent people, being infected with divers great
and horrible sicknesses and diseases.

ST. BARTHOLOMEW-THE-LESS

The Indenture goes on to convey to the mayor, commonalty, and citizens
of London the buildings formerly belonging to the Grey Friars as well as

the late Hospital of St. Bartholomew, in West Smithfield,
otherwise called the Hospital of Little St. Bartholomew, and the

Church of the same, and all the manors, parsonages, messuages,
lands, tithes, advowsons, and hereditaments, late part of the
possession of the said Hospital

with certain specified exceptions which the charity had to lose, and no
longer form part of its history. The immediate result was that the Church of
the Grey Friars became the parish church of Christ Church, Newgate, and
the chapel pertaining to the hospital (the survivor of four, three of which
were alienated) the parish church of Little St. Bartholomew, now more
familiarly known as St. Bartholomew-the-Less. Two priests were then
attached to it, one called the vicar, who was granted a mansion and a
stipend of £13 6s. 8d. per annum; the other, the hospitaller or visitor, whose
stipend was fixed at £10. The accommodation of the hospital at that time
was for one hundred poor men and women, lodging within it, under the
superintendence of a single matron, with twelve women assistants. It is
interesting to compare these figures with those of the present day, when the
hospital contains as many as six hundred and seventy beds, with three
hundred and fifty nurses on the staff, and every year relieves over one
hundred and fifty thousand poor sick people, besides maintaining a
convalescent home, with seventy beds, at Kettlewell, Swanley, Kent.[2]

The hospital chapel, converted into a parish church after the Dissolution,
had fallen into a very dilapidated state towards the end of the eighteenth
century. In the year 1789 the restoration of the building was committed to
Mr. George Dance, then architect and surveyor to the hospital. He made a
considerable alteration in the interior by ruthlessly destroying the old work,
for which he substituted an octagonal structure, within the rectangular plan,
allowing the external walls to remain in their original form, with the square
tower which still stands at the western end—the whole enveloped in a
coating of cement. The internal erection was entirely in wood, ingeniously

carved and coloured to resemble stone; but the false economy of it was soon
manifested in dry-rot, which spread to such an alarming extent that a
reconstruction became necessary. The rebuilding was taken in hand in 1823
by Mr. Thomas Hardwick, who had a much better knowledge of pointed
architecture than his predecessor. He removed the whole of the timber,
substituting stone and iron for it, and while adhering to Mr. Dance's general
design, improved upon it by introducing fresh details of his own, more in
harmony with the fabric in which it was enclosed. The church has since
been restored, but the incongruity is still obvious enough, especially from
the outside, where the octagon projects above the ancient walls, and the
small pentagonal chancel beyond them at the eastern end.

BRASS OF WILLIAM AND ALICE MARKEBY

The entrance is by a low Tudor doorway in the tower, which still bears
traces of the original work. On the pavement of the vestibule there is an
interesting brass, with the figures of William Markeby and his wife, and an
inscription which now reads: "Hic jacent Will'mo Markeby de Londiniis
gentlemo' qui obiit XI die Julii A. D'ni MCCCCXXXIX et Alicia uxor ei,"
the concluding words "quorum animabus propitietur Deus. Amen" having
been erased.[3] There are two other ancient memorials in this part of the
church which call for special notice, viz.: on the north wall, within the
present vestry, a niche contains the figure of an angel bearing a shield of
arms, beneath which another shield, surmounted by a crown, and upheld by
two angels, displays the arms of Edward the Confessor impaled with those
of England. And against the western wall there is a good example of a
canopied altar-tomb, in the Tudor style, with a memorial tablet (1741)
inserted in it, which is obviously much later than the tomb itself. This is
said to have originally stood at the eastern end of the south wall, where it
was discovered during the eighteenth century reconstruction, and then
deprived of its ornamental projections, where the marks of the chisel are
seen upon the surface.

ANCIENT SCULPTURED TABLETS IN ST. BARTHOLOMEW-
THE-LESS WEST END OF NORTH WALL

At the eastern end of the north wall there is a tablet to the memory of the
wife of Sir Thomas Bodley, whose name has been given to the famous
library at Oxford. The curious old stone beneath it, which was discovered
during the alterations, and then affixed to the wall, has the double interest of
great antiquity and a puzzling inscription beginning, "Ecce sub hoc tumulo
Guliemus conditur."

The exterior of the church, though spoilt by the composition laid over the
walls, has still a certain interest as part of the original fabric, and still
contains the arches of most of the old windows, viz., three on each side, one
at the west end, another immediately over the doorway, and four in the
uppermost storey of the tower. There were originally four windows on each

side, but those in the easternmost bays have been removed, and the spaces
filled up. Besides containing the memorials above mentioned, the vestibule
has more architectural interest than any other part of the building in the
surviving arches on the northern and eastern sides of the space beneath the
tower. Here there is an aggregation of columns, with moulded bases and
capitals, and banded in the centre, varied by the introduction of half-length
shafts resting on sculptured corbels. The central area is nearly square, but
has been formed into an octagon by an arcading, on a series of clustered
columns, from each of which spring the moulded ribs of the ceiling. These
ribs are of Bath stone, and after an elaborate intertwining, are brought
together above in a central boss, from which hangs a large brass corona to
light the church. The roof is of iron, the panels within the groining being
overlaid with plaster. Above the main arcade there is a clerestory of dwarfed
windows, filled with tinted glass in an ornamental framework, as are also
the side windows, excepting those nearest the east. These display a
selection of Scripture miracles. There are three painted windows over the
altar, the central containing scenes from the life of Christ, those to the north
and south representing the Old and New Testaments respectively. To the
north of the recess forming the sanctuary there is an alabaster pulpit,[4] and
on the south stands a small organ.

Services are held at eleven and five o'clock on Sundays, and the church is
open every day for private devotion. It is provided with seats to
accommodate about 200 people. The present vicar and hospitaller is the
Rev. Herbert Skillicorn Close, M.A.

PLAN OF ST. BARTHOLOMEW-THE-LESS
Dimensions: length, including vestibule, 65 ft.; without vestibule, 50 ft.;
width, 41 ft. 9 in.
(The measurements do not include the small chancel.)
FOOTNOTES

[1] St. Bartholomew was first interred at Albanopolis, in Greater Armenia, the
scene of his passion, and his remains were afterwards translated successively to
Daras, a city on the confines of Persia; to the island of Lipari; and to
Beneventum. There is a tradition that his relics were eventually conveyed to
Rome, but exactly where they were laid is uncertain.
[2] A full account of the hospital, brought down to 1837, is given in the Report of
the Charity Commissioners on "Charities in England," issued in that year (vide
No. 32, part vi), and since reprinted by Messrs. Wyman and Sons. Dr. Norman
Moore is now engaged in writing a new history to the present time. The name of
the first patient is recorded in the "Liber Fundationis" as "Adwyne of Dunwych."
[3] At the time of Stow's survey the church contained many brasses and
monuments which have disappeared; but a tolerably complete account of them
may be obtained by adding the descriptions supplied by Weever ("Funeral
Monuments") and Gough ("Sepulchral Monuments," vol. ii) to those given by
the old chronicler.
[4] There was formerly a chapel in the north-east corner.

APPENDIX I

THE PRIORY SEALS

Fig. A. Twelfth century. Sulphur cast from fine impression, the edge
chipped. About 3-1/8 × 2 in. when perfect.

Pointed oval: St. Bartholomew standing, with nimbus, lifting up the right
hand in benediction, in the left hand a long cross.

... HOSPITALIS SANCTI ... HOLOME ...
(3487. lxviii. 45.)

Fig. B. Twelfth century. Sulphur cast from imperfect impression. About
2½ × 2¼ in. when perfect.

Oval: St. Bartholomew, with nimbus, lifting up the right hand in
benediction, in the left hand a long cross. The saint is half length on the
section of a church, with round-headed arches, and two circular side-towers.

SIGILL' CONVENTUS ECC ... HOLO ... I.
DE. LVDON.
(3488. lxviii. 22.)

Fig. C. A Counterseal. Twelfth century. Sulphur cast, 1¾ in. A church,
with central tower, a cross at each gable end, and two tall round-headed
arches in the wall, standing on a ship of antique shape, with curved prow
and stern, each terminating in a bird's head, on the sea. In a field over the
tower, the inscription: NAVIS ECCL'IE. On the left a wavy estoile of six
points, on the right a crescent.

SIGILL':PRIORIS:ECCLESIE:SCI:BARTOLOMEI.
(3489. lxviii. 23.)

Fig. D. Later Seal. Thirteenth and fourteenth centuries. Sulphur cast from
imperfect impression. About 3 × 1 7/8 in.

Pointed oval: St. Bartholomew standing on a lion couchant guardant, in
the right hand a knife, his emblem, in the left hand a book. Overhead, a
trefoil canopy pinacled and crocketed. On each side in the field a tree on
which is slung by the strap a shield of arms: England.

S'C ... E. HOSPITAL ... SANCTI:BARTH'I.
LONDON'.
(3490. lxviii. 46.)

Fig. E. A Counterseal. Thirteenth century. Sulphur cast from chipped
impression. 1¼ × 7/8 in.

Pointed oval: the impression of an antique oval intaglio gem. An eagle
displayed.

SI ... HOSPITAL'. S. BARTHOL'.
(3491. lxviii. 47.)

Fig. F. Common Seal of the Prior and Convent. A.D. 1533. Bronze-
green: fine, showing marks of the pins or studs employed to keep the two

sides of the matrix in proper position, 2-1/8 in.

Obverse. St. Bartholomew, seated on a carved throne (somewhat
resembling the throne on the obv. of the great seal of Edward I), in the right
hand a book, in the left hand a knife. In the field, on the left a crescent, on
the right an estoile, each between two groups of three small spots (the
whole representing the heavens). Thirteenth century style of work.

SIGILLVM : COMMVNE : PRIOR' : ET :
COVETV[S :
SCI : BA]RTHOLOMEI : LONDON'.
(3492 and Harl. Ch. 83 A. 43.)

Fig. G. Reverse of the same seal. A church, with central spire, a cross at
each gable end, masoned walls imitating ashlar-work, and traceried
windows, standing on a ship with a castle at each end, that on the left
pointed, that on the right square, on the sea.

In the field at the sides, the inscription:

NAVIS ECCL'E. CREDIMVS : ANTE : DEVM :
PROVEHI : PER : BARTHOLOMEVM.

Beaded borders. ("Vetusta Monumenta," vol. ii, pl. xxxvi.)

Fig. H. Seal ad Causas. Fourteenth century. Sulphur cast from imperfect
impression. 2-3/8 × 1½ in.

Pointed oval: St. Bartholomew standing on a corbel, in the right hand a
knife, in the left hand a long cross.

... ET CONV ... THOL'I LOND' AD CAVS ...
(3495. lxviii. 26.)

Fig. I. Seal of the New Foundation for Preaching Friars, by Queen Mary.
A.D. 1556-1558. 2½ x 1-5/8 in.

Pointed oval: St. Bartholomew, standing, with nimbus, in the right hand a
knife, in the left hand a book, under a dome-shaped baldachin or canopy in
the style of the Renaissance, supported on two pilasters. In the exergue a
floral ornament.

SIGILLV. COVET' SCTI : BARTHOLOMEI : ORDINIS

FRATRV PREDICATORV : LODO.
Inner border beaded.
(From an impression taken direct from the matrix in the Church.
There is an example on red sealing-wax in the British Museum.
—3496. XXV. 88; see also "Archaeologia," vol. XV, p. 400.)
Later Seal of the Hospital.
A.D. 1695. Red, covered with paper before impression. 3 in.
(3498, and Add. Ch. 1685.)

Fig. K. Obverse. St. Bartholomew, full-length, surrounded with radiance,
lifting up the right hand in benediction, in the left hand a long cross.

COMM ... SIGILLV HOSPITAL'
APOSTOLI.

Fig. L. Reverse. A shield of arms: City of London.

In the field, the inscriptions: 1[66]1 (?). INSIGNIA LONDO.

Background diapered with wavy branches of foliage.

... EST SMITHFIELD ET HOSPITALI ...
With the exception of the Marian seal (Fig. I), the illustrations
come from the impressions in the British Museum, whose
catalogue numbers are given in every case for convenient
reference.

APPENDIX II

THE AUGUSTINIAN PRIORS

Rahere 1123-1144
Thomas 1144-1174
Roger about 1174
Richard 1202-1206
G. of Osney 1213
John 1226-1232
Gerard 1232-1241
Peter le Duc 1242-1255
Robert 1255-1261
Gilbert de Weledon 1261-1263
John Bacun 1265
Henry
Hugh 1273-1295
John de Kensington 1295-1316
John de Pekenden 1316-1350
Edmund de Broughyng 1350-1355
John de Carleton 1355-1361
Thomas de Watford 1361-1382
William Gedeney 1382-1391
John Eyton, D.D., alias Repyngdon 1391-1404
John Watford 1404-1414
William Coventre 1414-1436

Reginald Colier 1436-1471
Richard Pulter 1471-1480
Robert Tollerton 1480-1484
William Guy 1484-1505
William Bolton 1505-1532
Robert Fuller, Abbot of Waltham 1532-1539

Priory suppressed, 31 Henry VIII 25th October, 1539
Priory revived, 2 and 3 Philip and Mary Easter, 1556

Dominican Prior

William Perrin, D.D. 1556-1558
Priory suppressed, I Elizabeth 13th July, 1559

Rectors

John Deane
{ Parish
Rector
Priest 1539-1544
1544-1563
Ralph Watson 1565-1569
Robert Binks 1570-1579
James Stancliffe, M.A. 1581
John Pratt 1582-1587
David Dee, M.A. 1587-1605
Thomas Westfield, D.D., Bishop of Bristol 1605-1644
John Garrett, M.A. 1644-1655
Randolph Harrison, D.D. 1655-1663
Anthony Burgess, M.A. 1663-1709
John Poultney, M.A. 1709-1719
Thomas Spateman, M.A. 1719-1738
Richard Thomas Bateman 1738-1761

John Moore, M.A. 1761-1768
Owen Perrott Edwardes, M.A. 1768-1814
John Richard Roberts, B.D. 1814-1819
John Abbiss, M.A. 1819-1883
William Panckridge, M.A. 1884-1887
Sir Borradaile Savory, Bart., M.A. 1887-1906
William Fitzgerald Gambier Sandwith, M.A. 1907

Patron of the Living

Capt. F. A. Phillips.

APPENDIX III

INVENTORY OF VESTMENTS, ETC.,
AT THE CHURCH OF ST. BARTHOLOMEW-THE-GREAT,
TAKEN IN THE YEAR 1574

"Certayne things appertaining to the Churche as followethe:—

Imprimis a comunion cloth of redd silke and goulde.
Itm a comunion coppe (cup) of silver withe a cover.
Itm a beriall cloth of red velvet and a pulpitte clothe of the same.
Itm two grene velvet quishins (cushions).
Itm a blewe velvet cope.
Itm a blewe silke cope.
Itm a white lynnen abe (albe) and a hedd clothe (amice) to the same.
Itm a vestment of tawney velvet.
Itm a vestment of redd rought velvet.
Itm a vestment of grene silke with a crosse garde of red velvet.
Itm a crosse banner of redd tafata gilted.
Itm two stoles of redd velvet.
Itm two white surplices.
Itm two comunion table clothers.
Itm two comunion towels.
Itm one olde bible.
Itm one great booke.
Itm one olde sarvice booke for the minister."

APPENDIX IV

THE ORGAN

The organ now at St. Bartholomew's, where it supersedes one purchased
by subscription in 1731, was originally built by George England in 1760 for
the Church of St. Stephen, Walbrook. Considerable work was there done
upon it by Messrs. William Hill and Son in 1872, viz:

I. The pipes of Great and Choir stops were replanted, CC pipes
over the GG grooves, and the compass altered to CC to G
throughout.
II. The following alterations were made in the Great organ:
Open Diapason (ii) extended from gamut G to CC.
Mixture replaced by new pipes where required.
New Trumpet inserted, and the old one transferred to Swell.
Choir. Dulciana (new) C (grooved).
Keraulophon (new) C (grooved).
Clarinet CC.
Swell. New soundboard (CC to G), swell-box and new action.
New Bourdon, 16 feet.
Cornet made into 12 and 15 feet.
New mixture—four ranks.
German Flute revoiced.
Old Great organ Trumpet arranged to form Double Trumpet from
tenor C.
All stops, except German Flute and Double Trumpet, carried
down to CC.

Pedal. Bourdon, new, 16 feet.
Open Diapason, 16 feet (compass arranged CCC to F thirty
notes).
Trombone, new, 16 feet
Couplers. New, Swell to Great, Great to Pedal, Swell to Pedal, Choir to
Pedal, Swell to Choir.
New keyboards.
New Pedal keyboard.
New Drawstop knobs.
New additional bellows.
Five new Composition Pedals (three to Great organ, and two to
Swell organ).

Specification of the instrument after the above-mentioned work was
done.

Great Organ, CC to G. Choir Organ, CC to G.
Open Diapason (i) 8 feet Dulciana 8 feet
Open Diapason (ii) 8 " Keraulophon (C grooved) 8 "
Stopped Diapason 8 " Stopped Diapason 8 "
Principal 4 " Principal 4 "
Twelfth 22/3 " Flute 4 "
Fifteenth 2 " Fifteenth 2 "
Nason Flute 4 " French Horn tenor F# 8 "
Furniture. Vox Humana 8 "
Sesquialtra. Clarinet 8 "
Trumpet 8 "
Clarion 8 " Pedal Organ, CCC to F.
Open Diapason 16 feet
Swell Organ, CC to G. Bourdon 16 "
Bourdon 16 feet Trombone 16 "
Open Diapason 8 "
German Flute 8 " Couplers.
Stopped Diapason 8 " Swell to Great.

Principal 4 " Swell to Choir.
Twelfth 22/3 " Swell to Pedal.
Fifteenth 2 " Great to Pedal.
Double Trumpet (C) 16 " Choir to Pedal.
Trumpet 8 "
Oboe 8 " Three Composition Pedals to
Clarion 4 " Great.
Two Composition Pedals to
Swell.
In 1886 the organ was purchased
from St. Stephen's, Walbrook, for St. Bartholomew-the-Great, where a new
case was made for it, the original being retained at St. Stephen's, for the
sake of the carving, attributed to the famous Grinling Gibbons. Several
alterations were then made in the instrument to adapt it to its new position,
and at the present time the specification is as follows:

Great Organ, CC to G. Choir Organ, CC to G.
Open Diapason (i) 8 feet Dulciana 8 feet
Open Diapason (ii) 8 " Keraulophon 8 "
Stopped Diapason 8 " Hohl Flute 8 "
Principal 4 " Gamba 8 "
Wald-Flute 4 " Suabe Flute 4 "
Twelfth 22/3 " Fifteenth 2 "
Fifteenth 2 " French Horn 8 "
Mixture (4 ranks). Clarinet 8 "
Furniture (3 ranks). Vox Humana 8 "
Trumpet 8 "
Clarion 4 " Pedal Organ, CCC to F.
Open Diapason 16 feet
Swell Organ, CC to G. Bourdon 16 "
Bourdon 16 feet Trombone 16 "
Open Diapason 8 "

German Flute 8 " Couplers.
Stopped Diapason 8 " Swell to Great.
Vox Angelica 8 " Swell to Choir.
Principal 4 " Great to Pedal.
Fifteenth 2 " Choir to Pedal.
Mixture (4 ranks). Swell to Pedal.
Double Trumpet 16 "
Trumpet 8 " Five Combination Pedals.
Oboe 8 "
Clarion 4 "

INDEX

Ambulatory, 50.
Anthony, Francis, 52, and note.

Bartholomew Fair, 7, and note.
Bells, 28.
Belmeis, Bishop Richard de. 5.
Black Friars, Dominican Order of, 13, and note.

Canonbury House, 43 (note).
Canons Regular of St. Augustine, 6, and note.
Choir, 40.
Clerestory, 44.
Cloister, 58.
Crypt, 57.

Dimensions of St. Bartholomew-the-Great, 84.
—— of St. Bartholomew-the-Less, 71.

Early English columns, 33.
—— gateway, 26.
Exterior of the Church, 25, et seq.

Font, 39.

Grindal, Bishop Edmund, 16.

History of the Foundation, 3, et seq.
Hogarth, William, 39.
"Horseshoe" arches, 40.

Hospital, 63, et seq.

Lady Chapel, 10, 55.

Monasteries in London at the Dissolution, 13.
Monuments:
Anthony, 52.
Chamberlayne, 48.
Freshwater, 40.
Mildmay, 54.
Savory, 57 (note).
Smalpace, 49.

Nave, surviving bay of, 33.

Oriel Window (Prior Bolton's), 10, 43.
Organ, Specifications of, 80-82.
—— Screen, 33.

Porches:
West, 26.
North, 28.
South, 39.
Priors, list of, 77-78.
Priory Buildings, conjectural plan of, 14.
—— Desecration of, 17-20.
Pulpit, 48.

Rahere:
Early life, 3.
Conversion, 4.
Vision and vow, 4.
Realized in the Smithfield Foundation, 5.
Charter of privileges granted, 6.
Death, 8.
Tomb, 45.
Rectors, list of, 78.

Restoration of the Church, 20-22.
Rich, Sir Richard, 12, 16.

St. Bartholomew-the-Less and the Hospital, 64, et seq.
Savory, Sir Borradaile, Memorials to, 27, 48, 57 (notes).
Seals of the Convent and Hospital, 73-77.
Services at the Church, 30.
Smithfield, 5.
Stone Screen (ancient), 38.
Surrender of the Priory to Henry VIII, 10.

Tower (ancient central) and arches, 35.
—— (17th century western), 27.
Transepts:
North, 35.
South, 38.
Triforium, 43.

Vestments, Inventory of, 79.

West Front, 26.

DIMENSIONS OF THE CHURCH OF ST.
BARTHOLOMEW-THE-GREAT

(Internal)
Choir: Length 105 feet 2 inches
Breadth 27 " 8 "
Ambulatory: Breadth 12 " 10 "
Nave (surviving bay): From east to west 8 " 3 "
North Transept: From east to west 27 " 8 "
From north to south 19 " 3 "

South Transept: From east to west 27 " 4 "
From north to south 21 " 6 "
Lady Chapel: Length 60 " 6 "
Breadth 23 " 7 "
Cloister (three bays restored): Length 38 " 8 "
Breadth 13 " 2 "

PLAN OF ST. BARTHOLOMEW-THE-GREAT (EXISTING
CHURCH)

CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

Bell's Cathedral Series

Profusely Illustrated. Cloth, crown 8vo, 1s. 6d. net each.

NOW READY.

ENGLISH CATHEDRALS. An Itinerary and Description.
Compiled by J. G. Gilchrist, A.M., M.D. Revised and edited
with an Introduction on Cathedral Architecture by Rev. T.
Perkins, M.A., F.R.A.S.
BANGOR. By P. B. Ironside-Bax.
BRISTOL. By H. J. L. J. Massé, M.A.
CANTERBURY. By Hartley Withers. 4th Edition.
CARLISLE. By C. K. Eley.
CHESTER. By Charles Hiatt. 2nd Edition, revised.
CHICHESTER. By H. C. Corlette, A.R.I.B.A. 2nd Edition.
DURHAM. By J. E. Bygate, A.R.C.A. 2nd Edition.
ELY. By Rev. W. D. Sweeting, M.A. 2nd Edition.
EXETER. By Percy Addleshaw, B.A. 2nd Edition.
GLOUCESTER. By H. J. L. J. Massé, M.A. 2nd Edition.
HEREFORD. By A. Hugh Fisher, A.R.E. 2nd Edition, revised.
LICHFIELD. By A. B. Clifton. 2nd Edition, revised.

LINCOLN. By A. F. Kendrick, B.A. 3rd Edition, revised.
LLANDAFF. By E. C. Morgan-Willmott.
MANCHESTER. By the Rev. T. Perkins, M.A., F.R.A.S.
NORWICH. By C. H. B. Quennell. 2nd Edition.
OXFORD. By Rev. Percy Dearmer, M.A. 2nd Edition, revised.
PETERBOROUGH. By Rev. W. D. Sweeting, M.A. 2nd
Edition.
RIPON. By Cecil Hallet, B.A.
ROCHESTER. By G. H. Palmer, B.A. 2nd Edition.
ST. ALBANS. By Rev. T. Perkins, M.A.
ST. ASAPH. By P. B. Ironside-Bax.
ST. DAVID'S. By Philip Robson, A.R.I.B.A.
ST. PATRICK'S, DUBLIN. By the Very Rev. Dean Bernard.
2nd Edition.
ST. PAUL'S. By Rev. Arthur Dimock, M.A. 2nd Edition.
SALISBURY. By Gleeson White. 2nd Edition, revised.
SOUTHWARK, ST. SAVIOUR'S. By George Worley.
SOUTHWELL. By Rev. Arthur Dimock, M.A. 2nd Edition.
WELLS. By Rev. Percy Dearmer, M.A. 2nd Edition, revised.
WINCHESTER. By P. W. Sergeant. 3rd Edition, revised.
WORCESTER. By Edward F. Strange.
YORK. By A. Glutton Brock. 3rd Edition.
Others to follow.

Uniform with above Series, 1s. 6d. net each.

BATH ABBEY, MALMESBURY ABBEY, AND BRADFORD-
ON-AVON CHURCH. By Rev. T. Perkins, M.A.
BEVERLEY MINSTER. By Charles Hiatt. 47 Illustrations.
ST. MARTIN'S CHURCH, CANTERBURY. By Rev. Canon
Routledge, M.A. F.S.A. 24 Illustrations.
ROMSEY ABBEY. By Rev. T. Perkins, M.A.
STRATFORD-ON-AVON. By Harold Baker.
THE TEMPLE CHURCH. By George Worley.
ST. BARTHOLOMEW'S, SMITHFIELD. By George Worley.
TEWKESBURY ABBEY AND DEERHURST PRIORY. By H.
J. L. J. Massé, M.A. 44 Illustrations.
WESTMINSTER ABBEY. By Charles Hiatt.
WIMBORNE MINSTER AND CHRISTCHURCH PRIORY. By
Rev. T. Perkins, M.A., F.R.A.S. 65 Illustrations.

Bell's Handbooks to Continental Churches.

Profusely Illustrated. Crown 8vo, cloth, 2s. 6d. net each.

CHARTRES: The Cathedral and Other Churches. By H. J. L. J.
Massé, M.A.
ROUEN: The Cathedral and Other Churches. By the Rev. T.
Perkins, M.A.
AMIENS. By the Rev. T. Perkins, M.A., F.R.A.S.

PARIS (NOTRE-DAME). By Charles Hiatt.
MONT ST. MICHEL. By H. J. L. J. Massé, M.A.
BAYEUX. By the Rev. R. S. Mylne, M.A.

Opinions of the Press.

"For the purpose at which they aim they are admirably done, and there
are few visitants to any of our noble shrines who will not enjoy their visit
the better for being furnished with one of these delightful books, which can
be slipped into the pocket and carried with ease, and is yet distinct and
legible.... A volume such as that on Canterbury is exactly what we want,
and on our next visit we hope to have it with us. It is thoroughly helpful,
and the views of the fair city and its noble cathedral are beautiful. Both
volumes, moreover, will serve more than a temporary purpose, and are
trustworthy as well as delightful."—Notes and Queries.

"We have so frequently in these columns urged the want of cheap, well-
illustrated, and well-written handbooks to our cathedrals, to take the place
of the out-of-date publications of local booksellers, that we are glad to hear
that they have been taken in hand by Messrs. George Bell & Sons."—St.
James's Gazette.

"The volumes are handy in size, moderate in price, well illustrated, and
written in a scholarly spirit. The history of cathedral and city is intelligently
set forth and accompanied by a descriptive survey of the building in all its
detail. The illustrations are copious and well selected, and the series bids
fair to become an indispensable companion to the cathedral tourist in
England."—Times.

"They are nicely produced in good type, on good paper, and contain
numerous illustrations, are well written, and very cheap. We should imagine
architects and students of architecture will be sure to buy the series as they
appear, for they contain in brief much valuable information."—British
Architect.

"Bell's 'Cathedral Series,' so admirably edited, is more than a description
of the various English cathedrals. It will be a valuable historical record, and
a work of much service also to the architect. The illustrations are well
selected, and in many cases not mere bald architectural drawings but
reproductions of exquisite stone fancies, touched in their treatment by fancy
and guided by art."—Star.

"Each of them contains exactly that amount of information which the
intelligent visitor, who is not a specialist, will wish to have. The disposition
of the various parts is judiciously proportioned, and the style is very
readable. The illustrations supply a further important feature; they are both
numerous and good. A series which cannot fail to be welcomed by all who
are interested in the ecclesiastical buildings of England."—Glasgow
Herald.

"Those who, either for purposes of professional study or for a cultured
recreation, find it expedient to 'do' the English cathedrals will welcome the
beginning of Bell's 'Cathedral Series.' This set of books is an attempt to
consult, more closely, and in greater detail than the usual guide-books do,
the needs of visitors to the cathedral towns. The series cannot but prove
markedly successful. In each book a business-like description is given of
the fabric of the church to which the volume relates, and an interesting
history of the relative diocese. The books are plentifully illustrated, and are
thus made attractive as well as instructive. They cannot but prove welcome

to all classes of readers interested either in English Church history or in
ecclesiastical architecture."—Scotsman.

"They have nothing in common with the almost invariably wretched local
guides save portability, and their only competitors in the quality and
quantity of their contents are very expensive and mostly rare works, each of
a size that suggests a packing-case rather than a coat-pocket. The 'Cathedral
Series' are important compilations concerning history, architecture, and
biography, and quite popular enough for such as take any sincere interest in
their subjects."—Sketch.

LONDON: GEORGE BELL AND SONS

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