St Paul's Church is a Church of England parish church located in Bedford Street, Covent Garden, central London. It was designed by Inigo Jones as part of a commission for the 4th Earl of Bedford in 1631 to create "houses and buildings fit for the habitations of Gentlemen and men of ability".[1] Initially serving as an auxiliary chapel for the St. Martin-in-the-Fields parish, it was raised to a parish church with a dedication to Saint Paul in 1646, as the Covent Garden district expanded. The church is nicknamed "the actors' church"[2] by a long association with the theatre community, particularly in the West End.
Completed in 1633, St Paul's was the first entirely new church to be built in London since the Reformation.[3] Its design and the layout of the square have been attributed to Inigo Jones since the 17th century, although firm documentary evidence is lacking.[4] According to an often repeated story, recorded by Horace Walpole, Lord Bedford asked Jones to design a simple church "not much better than a barn", to which the architect replied "Then you shall have the handsomest barn in England".[5]
Nave and sanctuary
Jones's design closely follows the description of an Etruscan-style temple by Ancient Roman architect Vitruvius,[6] which reflects the early forms of Roman temple. These essentially continued Etruscan architecture, though quite what Vitruvius intended by his account has divided modern scholars.[7] The building is described by Sir John Summerson as "a study in the strictly Vitruvian Tuscan Order" and "almost an archaeological exercise".[8][3] It has been seen as a work of deliberate primitivism: the Tuscan order having been associated by Renaissance architect Palladio with agricultural buildings.[3]
The temple front with a portico on the square has never in fact been the main entrance, although this may have been Jones's first intention. The altar lies behind this wall, and the entrance is at the far end to this. The stone facing of this facade is also later; originally it was apparently brick with stucco. The other sides of the building remain brick, with details in stone. The triangular pediments at both ends are in wood.
In 1630, the 4th Earl of Bedford was given permission to demolish buildings on an area of land he owned north of the Strand, and redevelop it. The result was the Covent Garden Piazza, the first formal square in London. The new buildings were classical in character. At the west end was a church, linked to two identical houses. The south side was left open.[3]
Work on the church was completed in 1633, at a cost to the Bedford estate of £4,886, but it was not consecrated until 1638 due to a dispute between the earl and the vicar of St Martin-in-the-Fields. It remained a chapel within the parish of St Martin-in-the-Fields until January 1646, when Covent Garden was made a separate parish and the church dedicated to St. Paul.[4]
In 1789 there was a major restoration of the church, under the direction of the architect Thomas Hardwick.[4] Six years later, in September 1795, the church was burnt out by a fire, accidentally started by workmen on the roof.[9] A survey of the damage found that the outer walls were still structurally sound, but that the portico would have to be reconstructed. It is unclear whether this was in fact done. Having been restored once more, again under Hardwick's supervision, the church was reconsecrated on 1 August 1798.[4] Despite the destruction, the parish records were saved, as was the pulpit — the work of Grinling Gibbons.[10]
The puritan Thomas Manton ministered from the pulpit of St Paul's until the Great Ejection. On 23 September 1662 Simon Patrick, later Bishop of Ely, was preferred to the rectory of St. Paul's where he served during the plague.
The first known victim of the 1665–1666 outbreak of the Plague in England, Margaret Ponteous, was buried in the churchyard on 12 April 1665.
Architecture
Wenceslas Hollar, before 1677Covent Garden Piazza painted in 1737 by Balthazar NebotA view from Edward Rooker's "Six Views of London", 1766
The east end, facing the piazza, is now faced in stone, with a massive portico, its boldly-projecting pediment supported by two columns and two piers. There were originally three doorways behind the portico; the middle one, which survives, was built as a false door as the interior wall behind it is occupied by the altar.[9] The other two were blocked up in the 19th century, when the chancel floor was raised.[4] The main entrance to the church is through the plainer west front, which has a pediment, but no portico.[9]William Prynne, writing in 1638 said that it was originally intended to have the altar at the west end, but pressure from the church hierarchy led to the imposition of the traditional orientation.[4]
The earliest existing detailed description, dating from 1708, says that the exterior was not of bare brick, but rendered with stucco. In 1789 it was decided to case the walls in Portland stone as part of a major programme of renovation, which Thomas Hardwick was chosen to supervise. At the same time the tiled roof was replaced with slate, the dormer windows, added in the 1640s, were removed,[4] and the archways flanking the church, originally of stuccoed brick, were replaced with stone replicas.[9] When Hardwick's stone facing was removed from the church in 1888, it was found to be a thin covering less than three inches thick, poorly bonded to the brick. The building was then reclad in the present unrendered red brick.[4]
There were originally six or seven steps leading up to the portico, but these disappeared as the level of the Piazza was raised gradually over the years. By 1823 there were only two steps visible, and none by 1887.[4] The arches at the side of the portico were substantially widened and raised during a restoration of 1878–82 by Henry Clutton,[11] The 9th Duke of Bedford's architect.[4] Clutton also removed the bell-turret over the western pediment.[11]
The interior is a single space, undivided by piers or columns. The eastern third was originally marked out as a chancel by means of the floor being raised by one step. The level was raised further during alterations by William Butterfield in 1871–72. The church was built without galleries, but they were soon added on three sides. Hardwick included them in his rebuilding, and the western one remains today.[4]
To the sides of the portico there were two elaborate pedimented gateways to the churchyard that were removed, then replaced, continuing the "Tuscan" style.[3] Plans and historical images show a variety of relatively small structures rising from the roof, some shown housing bells. The roof is now completely bare, and two bells can be seen in recesses cut high on the western facade.
The portico was a great inspiration for Roger Morris (1695–1749) when designing the stable block for Althorp House, Northamptonshire, which is believed to have been built between 1732 and 1733. In the Palladian style and constructed of local ironstone, the east and north sides of the stables feature the deep porticos, both of which face the house. Many architectural historians have expressed the view that the stables are of more architectural importance than the house itself, which is rather more plain in comparison as a result of many centuries of alterations, including a major exterior renovation by Henry Holland (1745-1806) in the 1790s.[12]
Theatrical connections
St Paul's connection with the theatre began as early as 1663 with the establishment of the Theatre Royal, Drury Lane, and was further assured in 1723 with the opening of Covent Garden Theatre, now the Royal Opera House.
On 9 May 1662, Samuel Pepys noted in his diary the first "Italian puppet play" under the portico—the first recorded performance of "Punch and Judy", a fact commemorated by the annual MayFayre service in May.
The portico of St Paul's was the setting for the first scene of Shaw'sPygmalion, the play that was later adapted as My Fair Lady. Since 2007 St Paul's has been home to its own in-house professional theatre company, Iris Theatre, originally created to mount a production of T. S. Eliot's Murder in the Cathedral. It gained full charitable status in October 2009.[13]
Samuel Butler (1613–1680), of Hudibras fame, was buried at St Paul's, Covent Garden. Aubrey in Brief Lives describes his grave as "being in the north part next to the church at the east end ... 2 yards distant from the pillaster of the dore".[14] His grave was never marked. A monument to him was placed in Westminster Abbey in 1732 by a printer with the surname Barber, and the Lord Mayor of London.[15]
Charlie Chaplin memorial plaque in St Paul's, Convent Garden
In the 1980s, the site directly outside the church was where the then Greater London Council, soon to be abolished, liked to showcase bands, as part of its "Street Performers" policy for using public open spaces, and the Council then controlled the Covent Garden Piazza. On Sunday, 1 April 1984, the first samba school in Britain, the London School of Samba (LSS), performed its first ever public concert on this site.[17] Its second concert, on Saturday, 7 April 1984, also took place outside the church. The LSS had been formed on 31 January 1984 and was considered to be the Madrinha, or "godmother", of samba in the United Kingdom. Later in 1984, the LSS was also the first school of samba to parade in the Notting Hill Carnival.[18]
Covent Garden Sinfonia (known as the Orchestra of St Paul's until June 2017) is a professional chamber orchestra resident at the Actors' Church. In addition to a concert series in Covent Garden, the orchestra gives performances all around the UK and makes regular visits to the Southbank Centre, Cadogan Hall and St John's, Smith Square. Based around a core of principal players, Covent Garden Sinfonia adapts to each project, ranging in size from a small ensemble to a full symphony orchestra of 70 or more. The orchestra's Artistic Director is Ben Palmer and its patron is Sir Roger Norrington.[20][21]
Georgian architecture is the name given in most English-speaking countries to the set of architectural styles current between 1714 and 1830. It is named after the first four British monarchs of the House of Hanover, George I, George II, George III, and George IV, who reigned in continuous succession from August 1714 to June 1830.
St Paul's Cathedral is an Anglican cathedral in London, England, the seat of the Bishop of London. The cathedral serves as the mother church of the Diocese of London. It is on Ludgate Hill at the highest point of the City of London. Its dedication in honour of Paul the Apostle dates back to the original church on this site, founded in AD 604. The present structure, which was completed in 1710, is a Grade I listed building that was designed in the English Baroque style by Sir Christopher Wren. The cathedral's reconstruction was part of a major rebuilding programme initiated in the aftermath of the Great Fire of London. The earlier Gothic cathedral, largely destroyed in the Great Fire, was a central focus for medieval and early modern London, including Paul's walk and St Paul's Churchyard, being the site of St Paul's Cross.
Covent Garden is a district in London, on the eastern fringes of the West End, between St Martin's Lane and Drury Lane. It is associated with the former fruit-and-vegetable market in the central square, now a popular shopping and tourist site, and with the Royal Opera House, itself known as "Covent Garden". The district is divided by the main thoroughfare of Long Acre, north of which is given over to independent shops centred on Neal's Yard and Seven Dials, while the south contains the central square with its street performers and most of the historical buildings, theatres and entertainment facilities, including the London Transport Museum and the Theatre Royal, Drury Lane.
Inigo Jones was the first significant architect in England in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. As the most notable architect in England, Jones was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He left his mark on London by his design of single buildings, such as the Queen's House which is the first building in England designed in a pure classical style, and the Banqueting House, Whitehall, as well as the layout for Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as a theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson.
Grinling Gibbons was an Anglo-Dutch sculptor and wood carver known for his work in England, including Windsor Castle, the Royal Hospital Chelsea and Hampton Court Palace, St Paul's Cathedral and other London churches, Petworth House and other country houses, Trinity College, Oxford and Trinity College, Cambridge. Gibbons was born to English parents in Holland, where he was educated.
Francis Russell, 4th Earl of Bedford PC was an English nobleman and politician. He built the square of Covent Garden, with the piazza and church of St. Paul's, employing Inigo Jones as his architect. He is also known for his pioneering project to drain The Fens of Cambridgeshire.
Philip Hardwick was an English architect, particularly associated with railway stations and warehouses in London and elsewhere. Hardwick is probably best known for London's demolished Euston Arch and its twin station, the original Birmingham Curzon Street, which stands today as the oldest railway terminus building in the world.
Smith Square Hall is a concert hall in the centre of Smith Square, Westminster, London.
Palladian architecture is a European architectural style derived from the work of the Venetian architect Andrea Palladio (1508–1580). What is today recognised as Palladian architecture evolved from his concepts of symmetry, perspective and the principles of formal classical architecture from ancient Greek and Roman traditions. In the 17th and 18th centuries, Palladio's interpretation of this classical architecture developed into the style known as Palladianism.
Sir Robert Smirke was an English architect, one of the leaders of Greek Revival architecture, though he also used other architectural styles. As an attached architect within the Office of Works, he designed several major public buildings, including the main block and façade of the British Museum and altered or repaired others. He was a pioneer in the use of structural iron and concrete foundations, and was highly respected for his accuracy and professionalism. His advice was often sought in architectural competitions and urban planning, especially later in his life.
James Gibbs was a Scottish architect. Born in Aberdeen, he trained as an architect in Rome, and practised mainly in England. He is an important figure whose work spanned the transition between English Baroque architecture and Georgian architecture heavily influenced by Andrea Palladio. Among his most important works are St Martin-in-the-Fields, the cylindrical, domed Radcliffe Camera at Oxford University, and the Senate House at Cambridge University.
Henry Holland was an architect to the English nobility.
Thomas Hardwick (1752–1829) was an English architect and a founding member of the Architects' Club in 1791.
Thomas Archer (1668–1743) was an English Baroque architect. His buildings are important as the only ones by an English Baroque architect to show evidence of study of contemporary continental, namely Italian, architecture.
Hugh May was an English architect in the period after the Restoration of King Charles II. He worked in the era which fell between the first introduction of Palladianism into England by Inigo Jones, and the full flowering of English Baroque under John Vanbrugh and Nicholas Hawksmoor. His own work was influenced by both Jones' work, and by Dutch architecture. Although May's only surviving works are Eltham Lodge, and the east front, stables and chapel at Cornbury House, his designs were influential. Together with his contemporary, Sir Roger Pratt, May was responsible for introducing and popularising an Anglo-Dutch type of house, which was widely imitated.
St Marylebone Parish Church is an Anglican church on the Marylebone Road in London. It was built to the designs of Thomas Hardwick in 1813–17. The present site is the third used by the parish for its church. The first was further south, near Oxford Street. The church there was demolished in 1400 and a new one erected further north. This was completely rebuilt in 1740–42, and converted into a chapel-of-ease when Hardwick's church was constructed. The Marylebone area takes its name from the church. Located behind the church is St Marylebone School, a Church of England school for girls.
Nicholas Stone was an English sculptor and architect. In 1619 he was appointed master-mason to James I, and in 1626 to Charles I.
The Cleveland Street Workhouse is a Georgian property in Cleveland Street, Marylebone, built between 1775 and 1778 for the care of the sick and poor of the parish of St Paul Covent Garden under the Old Poor Law. From 1836, it became the workhouse of the Strand Union of parishes. The building remained in operation until 2005 after witnessing the complex evolution of the healthcare system in England. After functioning as a workhouse, the building became a workhouse infirmary before being acquired by the Middlesex Hospital and finally falling under the NHS. In the last century it was known as the Middlesex Hospital Annexe and the Outpatient Department. It closed to the public in 2005 and it has since been vacated. On 14 March 2011 the entire building became Grade II Listed. Development of the site began in 2019 by current owner University College London Hospitals (UCLH) Charity as a mixed-use development including residential, commercial and open space, but construction has been held up by the necessity to remove human remains stemming from the use of the area around the workhouse as a parish burial ground between 1780 and 1853. There has also been controversy about the amount of social housing to be included in the development.
Sir Alexander St John was an English politician who sat in the House of Commons variously between 1621 and 1629.
Liturgical east and west is a concept in the orientation of churches. It refers to the fact that the end of a church which has the altar, for symbolic religious reasons, is traditionally on the east side of the church.
References
↑ Summerson, John (1966). Inigo Jones. Penguin, 1966. p.83. Retrieved 23 August 2010.
1 2 3 4 5 Summerson, John (1991). Architecture in Britain, 1530 to 1830. Pelican History of Art (8thed.). Harmondsworth: Penguin Books. pp.125–126.
1 2 3 4 5 6 7 8 9 10 11 Sheppard, F. H. W., ed. (1970). "St. Paul's Church". Survey of London: volume 36: Covent Garden. Institute of Historical Research. Retrieved 8 November 2011.
↑ Among other things, it is not clear if Vitruvius was acting as an architectural historian, describing a building type that was no longer newly built by his day, even though his account tells "how to" design such a temple.
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