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Family of Rodney.-Registers of London Chapels.

I think it will now be admitted that the remains in question cannot form part of a College built by Sir Wm. Walworth late in the 14th century; and so far A. J. K. will acknowledge the correction. Might not these arches have formed part of the mansion called the Leaden Porch? A similar crypt and nearly coeval with it, belonged to Gisor's Hall. There are some very considerable remains eastward of the site of the destroyed Church, the origin of which I am happy to see is likely to be elucidated by a gentleman who has bestowed so much attention upon the early history and antiquities of the Metropolis as your Correspondent, and I anticipate much research and information from his ensuing communications.

I would in conclusion observe, that the old Church is said to have had its site where the parsonage house was subsequently built; if so, we must be led to seek for the foundations of the earlier structure among the remains of the ancient and massy walls which were disclosed near the south-east angle of the modern Church, but which do not indicate that the original was a "small mean building," as it is said to have been. I shall therefore read with interest A. J. K.'s conjectures on the probable antiquity and destination of walls so compactly and strongly built as are the remains in E. I. C. question.

Mr. URBAN,

[April,

which Sir George Rodney wrote in his blood in the Topographer, vol. I.

George Brydges of Avington was maternal half-brother to the Duke of Shrewsbury, and descended from Thomas Brydges of Keynsham, co. Som. and Cornbury, co. Oxon, in which last church he was buried,-who was younger brother of John first Lord Chandos. See the succession of Monuments and Inscriptions in Keynsham Church, printed in the last edition of Collins's Peerage.

George Brydges was the last of the male line of his own very honourable branch, and left his large estates to the last Duke of Chandos, who died 1789, to keep up the name and honours of the family. See also Hargrave's Law Tracts, regarding the manor of Villiers in Ireland, which came from the Countess of Shrewsbury, the mother of George Brydges, who was drowned in his canal at Avington near M. L. Winchester.

Mr. URBAN,

April 12.

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IT will be well known to your readers that previously to the Marriage Act in 1753, marriages were performed at the several Chapels in and about London. Since the Act came into operation, the registers of these marriages have in many instances found their way into private hands; but as it is most desirable that their existence and the place of their deposit should be known, I have to request that any information which your readers can contribute, may be contributed through a List of your medium. I annex Chapels, the Registers of which I have not hitherto been able to discover. Lamb's Chapel. Knightsbridge. Berwick-street. Bancroft's.

Dacre's.
Dean-street, Soho.
Ely House.

St. John's (Bedford-
row).
Serjeants' Inn.
Spring Garden.
Wheeler's, Spital-fids,
Wood-st. Compter.
Hammersmith.

Chelsea College.
Southgate.
Poplar,

April 10. GENERAL MUNDY, in his Life of Lord Rodney (reviewed in p. 244), has given rather a blundering account of the great Admiral's ancient family. He was not brought up under the patronage of the Duke of Chandos, to whom he was not at all related; but of old George Rodney Brydges of Avington and Keynsham, whose grandmother was the heiress of the elder branch of the Rodneys. It is doubtful whether the Admiral could produce strict proof of his descent from a younger son of that venerable house; though he is called grandson of Anthony, stated to be son of George by Anne Lake (misprinted Jakes, p. 26), widow of Lord Roos, of whom see the curious history in Memoirs of King James's Peers; and see the prosecution against her husband for incest, and the consequences to her father Sir Thomas Lake; see also the poem * If Lord Rodney was descended from this George Rodney by this Anne Lake, then he was related also to the Duke of Chandos's branch, though very remotely.

Great Queen-street.
Grosvenor square.
Hill's, Rochester-row.
Kingsland.
King-st. Oxford-st.
Long Acre.
London House.
Westminster, New.
New-st. St. Giles's.
Oxendon.
Oxford (Marylebone).
Queen-sq. (Westm1.)
Yours, &c.

Ilford.

Brentwood.

Romford.
Ashford.

Hounslow.

Hampton Court.
Fulham Palace.
Highgate.
Kentish Town.

J. S. B.

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St. Mary's Chapel, Lambeth.

1831.] NEW CHURCHES.-No. XXX. ST. MARY'S CHAPEL, LAMBETH

BUTTS.

Architect, Bedford.

THE distinction between a Church and Chapel of Ease is purely ecclesiastical; in point of architecture and arrangement, both descriptions of edifice have every part and member in common. We see a Chapel with the plan and detail of a Cathedral, and a Parish Church little raised in point of appearance above the tithe barn. But our modern architects think and act otherwise; they make a broad distinction between the design of a church and that intended for a chapel; if they have occasion to erect an edifice of the latter denomination, they take the nearest Meetinghouse as their model, and finding it necessary that some provision should be made for a bell, they set a cage or turret upon one of the gables, copied either from the watchbox, when such things existed, or the first public stables. Lambeth Chapel, which forms the first subject of the engraving (Plate I.) is a building of this class, although it differs from some others in being erected in what the architect would, I suppose, designate the Gothic style. The body of the structure consists of an oblong square, without aisles or chancel, and covered with a slated roof, and the whole might pass for a veritable Meeting-house, were it not for a pyramidal composition perched on the western gable, and intended of course for a steeple. Viewing the structure in detail, we shall observe on the onset, that it is not an imitation of any style which prevailed in the ancient history of Pointed architecture, but is a production entirely of the Wyatt school, a complete specimen of Carpenter's Gothic. The western front is made by buttresses into three divisions, the angles being crowned with slender and ill-formed pinnacles. In the centre is a porch with an obtuse arch and a low gable; the inclined cornice being ornamented with some puerile arch-formed ornaments, copied perhaps from some of the pasteboard watch-cases which are sold at the fancy stationers. Above is a window of three lights, with perpendicular mullions in the head of the GENT. MAG. April, 1831.

297

arch, a tolerably fair copy of a genuine window of the 15th century; and in the side divisions are lofty niches with ogee canopies,, of a perfect modern design. The entire front rises to a pediment, the cornice ornamented in the same style as the porch. Above the front is a turret of entirely modern design, rising from the ridge of the pointed roof. It consists first of a low square basement; then of an octangular plinth, with dials: to this succeeds a lantern of the same form, consisting of eight arches divided by buttresses ending in pinnacles; and the whole is closed with a spire enriched with a few "fancy" mouldings, and crowned with a cross. Yet, although it is made into so many parts, the entire steeple possesses neither elevation nor magnitude.

The flanks of the building are uniform; they are each made into six divisions by buttresses terminated by pinnacles. In every division, except the first, is a window divided into two lights by a mullion, with a quatrefoil in the head of the arch, of a modern and unsanctioned design, differing from the window in the west front, and very inferior to it. The arch is most awkwardly constructed; it is slightly curved at the haunches, but the remainder is formed of two straight lines, ending in an obtuse angle. The first window from the west is lancet-formed, and below it is an entrance, which with admirable propriety is lintelled, instead of being arched.

The east end "is a comely wall of brick;" it has a large window in the centre with mullions and tracery, the latter crossed in the Chinese style.

THE INTERIOR

is equal in all its parts to the outside. It is made into a nave and aisles by five clusters of columns; an arrangement perfectly unnecessary, and as it is not indicated by the external construction, at variance with utility as well as precedent. The architect's idea of a column is evidently taken from a scaffold pole; four such poles united in a cruciform plan, with rings round the tops to prevent their splitting, gives the design of each cluster -a genuine carpenter's composition; and with admirable consistency, the four, though they have different capi

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Holy Trinity Church, Chelsea.

tals, have a common base. From these piers a slender arch moulding divides the ceiling into three divisions in breadth, and it is again made into six in length; the mouldings springing from the columns are intended for an imitation of a groined stone roof. It is, however, merely a flimsy modern composition in plaster, neither resembling in substance or design the groined roofs of antiquity. The three aisles are of equal altitude; consequently the centre, which is broader than the lateral divisions, forms an angle more obtuse than the others.

A gallery occupies the two aisles, and the western end of the Chapel; the front has no mouldings.

In the western portion is an organ in a case of oak, ornamented with pinnacles. At the east end of the aisles a small portion is taken off for a vestry on one side, and on the other a porch. Both these portions are fronted towards the altar with pews. Some iron-work is here applied, of a spurious design, having something the appearance of the canopy of an ancient tomb.

The altar screen is beneath the eastern window; it is made into six arched compartments, with the usual inscriptions. In the window above is some ornamental glass, among which is a cross surmounted by a holy Lamb.

The pulpit and desks are grouped in the centre aisle, and have nothing

remarkable about them.

The font is octangular, on a pannelled pedestal. It is placed in the central aisle below the western gallery.

The Chapel will contain 613 persons in pews, and 1347 in free seats, making a total of 1960. The amount of the contract was 76347. 10s. 4d.

It was commenced in May 1827, and consecrated by the present Bishop of Winchester on the 26th Aug. 1828.

THE CHURCH OF THE HOLY TRINITY, SLOANE-STREet, Chelsea.

Architect, Savage.

This Church is situated near the bottom of Sloane-street; it is partly concealed by adjacent buildings, the west part ranging with the houses on the eastern side of the street.

The plan is a parallelogram. At the east end is a small chancel, and at the western extremity are lobbies

[April,

and porches, with two octagon towers. The west front is the only decorated part of the exterior. It consists of a façade before the main building, not extending the whole breadth. This façade is composed of a central portion between two towers; the former commences with a porch, the arch of which is pointed, and covered with an ogee canopy, ending in a pedestal. Within the porch are three entrances to the Church, the arches of which are also pointed, and the roof is of stone groined; the bosses are not yet carved. This entrance is an evident imitation of the principal entrance to Winchester Cathedral, built by Bp. Edington A. D. 1330. Immediately over the porch is a triple lancet window, in the style of the Temple Church, A.D. 1260, but which is improved according to the architect's notions, by the addition of sweeps of Tudor architecture, to the soffites of the heads of the lights. Above this is a handsome trefoil richly ornamented in the style of the 14th century, which incloses a circle for a dial. The whole is finished with a gable, surmounted by a cross. The towers are each made into two principal stories, and are manifest imitations of the oriel windows seen in domestic buildings of Tudor architecture. The first story is lofty, and commences with a plain stylobate, to which succeeds two series of Tudor lights with cinquefoil heads, inscribed in squares; above this is a frieze and blockings, and an embattled parapet, each angle of the structure being ornamented with a pinnacle. To this oriel window or tower, or whatever else it may be called, of the 16th century, succeeds an addition in the style of two centuries earlier, being an octagon lantern and spire; the first has lancet lights in four of its faces, each accompanied by two pinnacles, within which rises a spire remarkably slender in its proportions; it is ribbed at the angles, and of an earlier period than the lantern and pinnacles: it is crowned with a large finial. The façade which we have described is flanked by two sub-porches, which make up the breadth of the west front. This illconsorted jumble of the architecture of all ages is a perfect anti-climax. If the architect designed to display his ingenuity in the union of every period and variety of Pointed archi

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