Church of St. Peter, Vauxhall (1863), designed by J. L. Pearson

Church of St. Peter

J. L. Pearson

1863

Vauxhall

Source: Eastlake, facing p. 327

It was perhaps when the rage for foreign Gothic was at its height that a building was begun in London, which, from its size, the nature of its construction, and the masterlike skill of its design, deserves especial mention. The Church of St. Peter's, Vauxhall is not only an excellent example of Mr. Pearson's originality in design, but may be fairly described as one of the most successful instances of modern ecclesiastical architecture in London. [Eastlake's commentary continues below]

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The plan and general arrangement of this structure are extremely simple; its most remarkable features being a semicircular apse and triforium at the east end, the bold and unconventional treatment of the west front, and the groined vaulting which roofs the whole of the interior. It is also distinguished by the very early character of its internal details, especially of the carved work, which, where finished (the capitals of the nave piers are still left en bloc has been executed with great spirit and refinement.

The wall of the apse immediately below the triforium is decorated with fresco paining in seven panels or compartments, devoted to the following subjects illustrative of the last incidents in the life of our Lord: The Last Supper, The Agony in the Garden, Christ bearing His Cross to Calvary, The Crucifixion, The Descent from the Cross, The Resurrection, and Christ's subsequent appearance to the Apostles. The figures in each subject are closely grouped and are relieved in alternate panels on a dark blue and Indian red ground. Other tints are employed to represent some of the accessories, but the figures themselves are for the most part left uncoloured, the folds of drapery, &c., being expressed by lines only.

Below this series of pictures the wall is covered to a depth of about eight feet with a diaper pattern in two tints of Indian red separated by a narrow band of white from the lower portion of the wall which is diapered in green to a height of some three feet from the pavement. The altar, which is detached from the wall, is surmounted by an alabaster reredos simple in general form but judiciously enriched with coloured marble, and gold Mosaic. The choir stalls are extremely plain in general .form, and depend for their effect on the novel introduction of iron grille-work which rises behind them, and forms a canopy overhead. It is impossible to praise too highly the skill and attention which have been bestowed on the design of these screens, and indeed on the whole of the metal-work, in this church.

The groined work over the chancel, nave, aisles, and north transept is executed in brick with stone ribs. The nave is divided into five bays by obtusely-pointed arches and columns which are nearly cylindrical in plan, but from which two slender shafts project, towards the aisle, apparently for the purpose of carrying the stone ribs of the aisle vaulting.

The windows of this church are simply lancet headed without cusping. At the west end they are arranged in double couples with a circular cusped light over each couple. The large round window filled with plate tracery, which is seen in the centre of the gable outside, lights not the church itself but the roof above the groining. The square bell turret which rises to the right of the gable, and the three bold buttresses which descend to the narthex below are unusual features, and add considerably to the original and picturesque character of the composition. [326-27]

References

Eastlake, Charles L. A History of the Gothic Revival. London: Longmans, Green; N.Y. Scribner, Welford, 1872. [Copy in Brown University's Rockefeller Library]

Last modified 5 February 2008