I've long loved Dixon's architectural achievements; it's true…read more That said, I came here to see a) where Benedict Arnold was buried, and b) where William Blake was married. Handsome neo-classical nave

St Mary's is a lovely Georgian church, and one of the oldest places of worship on the south bank of…read morethe Thames in London. There has been a place of worship on this site since around 800AD (it celebrated 1,200 years in 2000) but the present building was erected 1775-77 to replace the mediaeval church, which was becoming increasingly dilapidated. The architect was Joseph Dixon, who delivered a classical Georgian church with a Doric portico, surmounted by a tower and spire, all executed in brick with stone dressings. The interior comprises a large nave with galleries on three sides and a small apsidal sanctuary. The East window looks out of place, as it is Gothic in style: in fact it was recycled from the old church; dated to 1631, it is attributed to Bernard van Linge, in stained and enamelled glass. Other windows are also of interest, and reflect some of the famous former members of the congregation: the poet William Blake married Catherine Boucher here in 1792, and Turner is reputed to have painted the river from the vestry window at the front of the church. Americans will be interested that Benedict Arnold (1741-1801), the Revolutionary traitor, is buried in the crypt. The church is the home of a vibrant congregation, with worship in the modern catholic style.

St Dunstans church is a hidden gem and a relatively unknown slice of East-End history. Located…read morejust a stone's throw away from Stepney Green Park and opposite a rather bizarre farm, the church boasts 1000 years of history and each turn reveals eye-catching features like gravestones dating from the Civil War and etchings of its patron Dunstan beneath a set of tongs, symbolic of his connection to metalwork. There are two particularly fascinating stories of St Dunstan outlined in a brochure you can pick up by the entrance to the building. The first tells of a day when Dunstan was approached by the devil whilst he was busy with his metalwork. The devil attempted to tempt Dunstan to evil pleasures but Dunstan, the crafty so-and-so, pulled his red-hot tongs from the furnace and saw the devil off by tweaking him on the nose. The second story also takes place at the metalworks and the devil again approached Dunstan, this time riding his horse. The devil requested Dunstan shoe his horse but the crafty Dunstan instead attached a shoe to the hoof of the devil. In return for releasing him Dunstan made the devil promise to never enter a house where a horseshoe hung over the door. It is from this story that we get the legend of the lucky horse shoe. Dunstan founded his church in the 10th century and at one time it served the entire population of Middlesex east of the City of London. The current building is the third church to have been built on the site and dates mainly from the 15th century though the chancel is 200 years older. It is a truly beautiful building with a rich and vibrant history and the perfect place to see a piece of London free from the general milieu of tourist spots.

A few weeks ago I got lost on my bike trying to find an art gallery and stumbled upon St Dunstan's…read more I was immediately smitten. To begin with, it's old. It's also not at all ostentatious, which seems fitting for the style of its East London parishioners. Furthermore, it somehow survived the Blitz when the balance of the neighbourhood was obliterated. I hesitate to write 'miraculous', but it really doesn't get much more uncanny than that.

Petersham is quite unexpected: a true village within suburban London, sandwiched between Kingston…read moreand Richmond. The quaint and large Georgian brick-built church of St Peter lies just off the main road, a little corner of tranquillity away from the bustle beyond. It is thought a Saxon chapel existed here in the 8th century, and a church was mentioned in Domesday. The earliest part of the present structure, however, is the chancel, rebuilt in 1266 and now retaining a single simple lancet window. The rest of the church was rebuilt in 1505 and again in the 1700s with the expansion of the transepts, which effectively reorientated the church north-south. The south side was enlarged again in 1840, but has been little altered since. Inside, the feeling is overwhelmingly of a well-loved Georgian chapel, with high box pews and galleries, a lofty hexagonal pulpit with a spiral staircase, and round-headed windows with pale glass. There are two memorials of note: a fine Jacobean memorial to George Cole (d. 1624) and his wife, and in the churchyard, that of George Vancouver (1757-1798), whose expedition in 1791-5 charted the north west coasts of America and Canada. On my visit the church had two delightful and informative welcomers.

A true gem. I was surprised by how much I enjoyed visiting this Cathedral. 40+ years ago I visited…read moreWinchester Cathedral so really wanted to to see St. Paul's. Unlike Winchester We found it uncrowded and easy to meander around. My pictures certainly do not do it justice. It is of course breathtakingly beautiful but beyond this it is calm, moving, relaxed. One place in particular was the area behind the alter where there is a most moving tribute to the Americans that fought alongside them during World War II. I just choked up. Below in the Crypt you cannot avoid walking across the many many folks buried there. And I wonder, how many more years it will be before this area is closed off to the public. The floor stone inscriptions are getting incredibly worn. Do not miss the Crypt.

St Paul's, Knightsbridge, is one of those hidden gems: so close to the busy thoroughfares of…read moreKnightsbridge and Belgrave Square, so close to the touristy hot-spot of Hyde Park Corner, and yet unknown to most of those who pass by. Perhaps that is to the benefit of those who do know about it: a church that is open on most days, its neo-Gothic splendour - and splendour is the right word here - providing an oasis of calmness and tranquility in the midst of rushing madness. The need for church here was becoming clearly evident in the early 19th century as the development of Belgravia and Knightsbridge started in earnest. The church was built mostly by private subscription: Thomas Cundy the younger was appointed architect, and the work was undertaken 1840-1843. History The church was perhaps the first in London to champion the principles of the Oxford Movement, which emphasised a return to the rituals and traditions of the Catholic church, and debates and controversy arising from this dominated the first 50 years of its life. The Chancel was lengthened in 1871-2 and again in 1892 by the well-known church architect G F Bodley, with the addition of a side chapel by the equally well-known A Blomfield in 1889. Architecture The church itself is built in the Perpendicular Gothic style, of yellow brick with Bath stone dressings. It has a prominent (though to me, oddly under-sized) western clock tower. The exterior is handsome enough, but does not prepare you at all for the interior: the first impression is one of a vast space - the nave is both wide and high - and of the unusual retention of large galleries, supported on cast-iron columns on the north, south and west sides. The Chancel is separated by a full and elaborate rood screen - the work of Bodley, as is the design of much of the rest of the lavish decorative scheme, including the East Window. The theme of elaborate decoration continues unabated throughout the church: the walls have tiled panels depicting scenes from the life of Christ (by Daniel Bell) interspersed with painted stations of the Cross (by Gerald Moira), and statuary and paintings abound. My favourite is actually the ceiling, painted but given structure by the impressive wooden ceiling trusses. Unsurprisingly, it is a Grade-II* Listed Building. The church is today centre of a very busy parish life. In its past, it has been associated with the great and the good, although these days it emphasises its inclusiveness. It has a rich tradition of music, and is also a venue for regular concerts.

What a beautiful church in the heart of Kensington. Open to the public and only asks for a…read moredonation. You can contribute coin, paper money or tap to donate with your watch or phone. Well Preserved and original this church has so many memoriums that show how much history is within the walls. War memorials are sprinkled throughout and deserve your time and attention. Amazing stained glass and wood beam construction within.

The church of St Mary Abbots Kensington holds what should be an imposing position, on the busy…read morejunction of Kensington High Street and Kensington Church Street, but somehow contrives to hide itself from the bustle of the traffic, the shoppers and office workers hurrying past. The present church, built in 1872, is not the first on the site. Kensington derives its name from the Saxon sons of Cynesinge, who founded a settlement or 'tun' in 700 AD near or on the land where St Mary Abbots now stands - 'Cynesingetun' developed into modern 'Kensington'. Little is known about whether there was a church here in Saxon times, but there was definitely a church here after the Norman conquest. The church was bequeathed in the 1100s to the great Benedictine Abbey of St Mary at Abingdon, and in 1260 the abbey established a parish in Kensington, dedicated to St Mary and possibly then given the epithet of 'Abbots'. The line of vicars can be traced directly back to this foundation in 1262. The Norman church was rebuilt in 1370, but the Dissolution of the Monasteries led to the confiscation by the Crown of the Abbey's Kensington lands. Subsequently, the establishment of the Court at Kensington Palace by King William III led to a considerable growth in the local population, and the small medieval church was replaced by a larger Renaissance-style church in the 17th century. This in turn was considered too small for the growth of the local population during the 18th and 19th centuries and, despite the establishment of other parishes in the area, a new church on a grand scale was commissioned in the mid 19th century. The architect was no less than the great Sir George Gilbert Scott, who built a fine neo-Gothic church in the Early English style, and this is the building we see to-day. The church has a standard floor plan of a long nave, with generous aisles, but with short, broad transepts, and a relatively small chancel and choir. The entrance is via a long cloister from Kensington Church Street itself. The quality of workmanship and the grand scale - it is nearly 180ft long, and the nave roof is 72ft high - make this an impressive building. Its spire, at nearly 200ft, is said to be London's highest. The church contains many fittings from the earlier churches, especially funeral monuments from the mid 1600s onwards. Notable among these is a memorial in the form of an angel, to Alfred, Duke of Edinburgh and Saxe-Coburg (d.1899), and Leopold, Duke of Albany (d.1884), by their sculptor sister, Princess Louise (daughter of Queen Victoria) who died in 1939. The pulpit dates from 1697, and was a gift from William III. Given its location, it is no surprise that the church has had a long list of impressive parishioners. These have included Sir Isaac Newton (commemorated in a window in the north transept), Joseph Addison, William Wilberforce, George Canning, William Thackeray and Lord Macaulay. More recent parishioners have included the late Princess Alice, Countess of Athlone and the late Princess Diana. The church is the centre of a very lively parish life, with an long tradition of church music and a fine choir (regular concerts are held here), a busy Sunday School, and an associated Primary School. For details of services and special events, see the web-site.

St Luke's, with its striking golden stone tower soaring to 142ft (43m), dominates the area around…read moreSydney Street, just off the upper end of the King's Road close to Chelsea Town Hall. It is set in a spacious square, opposite the anonymous brown mass of the modern Royal Brompton Hospital. The need for a new church was identified in the early 19th century as the original Parish Church (now known as Chelsea Old Church) was becoming too small for the area's rapidly increasing population. The new church was designed by James Savage in a grand perpendicular gothic it was, in fact, one of the earliest Gothic revival churches. Consecrated in 1824, it is built in a lovely golden Bath stone and the exterior resembles King's College Chapel, Cambridge. The grand scale reflected the wealth of Chelsea even then the first rector was the brother of the Duke of Wellington, the wonderfully-named Reverend Gerald Valerian Wellesley, and the Earls of Cadogan, who remain patrons of the parish. From Sydney Street, the church is dominated by its tower, which sits above a generous five-arched entrance portico. Behind it, resembling some grand ocean liner, is a high, square nave, flanked by tall aisles and regular flying buttresses. After the exterior, the interior is something of an anti-climax. Originally built as a 'preaching-box', with a small altar, it was re-ordered in a more traditional style in the late 19th century. With the galleries, the church can seat over 850 people. The most striking features, apart form its incredible height (at 60ft, it has the tallest nave of any parish church in London), are the huge window in the east wall, and the wonderful organ in the west, rebuilt in 1932, but incorporating parts of the original. The window is over 500 square feet in area, and was reglazed in 1959 to replace the original destroyed in the Second World War. The colourful design features emblems of the Trinity and Saints. The reredos behind the altar is also attractive, and contains a painting of Christ being taken down from the Cross, by the portrait painter James Northcote (1746-1831). Other fittings of interest include a wonderful eagle lectern, and various flags and memorials to the Punjab Frontier Force, which was based in India from1847 to 1947. The church has a colourful history: Charles Dickens was married here in 1836, two days after the first publication of the Pickwick Papers; the Rector from 1836-1860 was the father of Charles Kingsley, author of the Water Babies, and John Goss, who wrote the well-known hymn 'Praise my soul the King of Heaven'. But the most bizarre incident was associated with the 'Flying Man', Vincent de Groof, in 1874. He had constructed a primitive flying-machine from which he planned to descend to awaiting crowds - from a hot-air balloon. Setting off from nearby Cremorne Gardens, the balloon drifted dangerously towards the tower of St Luke's. The balloonist cut de Groof free, hoping he would land gently in the churchyard, but instead he crashed into Robert Street, and died shortly after. More happily, the church was used to film some of the scenes in the 1995 Disney remake of the film '101 Dalmatians'. Nowadays, the church has a loyal congregation, attracted by the traditional but inclusive Anglican services. The church is also famous for its choir the largest voluntary choir of any London church which sings regularly at services, as well as performing in Cathedrals in the UK and France. More details can be found at: http://www.vinumbonum.org.uk . The church has a ramped access at the front for pushchairs and wheelchairs. Sunday Services: 8h Holy Communion 10.30h Sung Eucharist 18.30h. Choral Evensong (15h in winter) For details of other services, see web-site.

this church is so beautiful and the grounds attached make the perfect place to get away from the…read morehustle and bustle of the king's road. On a sunny day you can buy some stuff form waitrose round the corner have a lovely picnic and finish up with a nice glass of wine at the builder's arms opposite!

St Cuthbert's is tucked away off the main Warwick Road in Earl's Court, a quiet spot away from the…read moretraffic. From the outside, it looks like another unremarkable Victorian red-brick church: there isn't even an East Window, in its place a decorative gothic arch with empty niches, waiting for statues. But inside is one of England's outstanding collection of Anglo-Catholic arts and crafts furnishings. Opened in 1883, the interior space is tall and dark, the nave running continuously into the chancel, its proportions modelled on the picturesque ruins of Tintern Abbey in Gwent. The elegant pier shafts and wall panels are made of coloured Torquay marble (apparently the largest shipment ever made of this stone). The windows include lovely examples by Kempe, but it is the arts and crafts which steal the show. The elaborate lecturn is a beautiful piece in copper, brass and wrought iron, but even this is overshadowed by the huge rood beam, with its saints and crucifix, dominating the interior space - modelled on that in the cathedral at Granada. The reredos is also impressive, taking up the whole of the east end, with elaborate carvings of Christ, angels and saints. Unfortunately the interior is rather dusty, and needs some refurbishment: the south wall has been cleaned on the outside, and shows just how colourful the interior could be. Although seldom open in the day for visitors, the space is best appreciated at services, when the rising clouds of incense provide a dramatic spectacle.

Surrounded by some of the most expensive real estate in the world, St Mary's looks like a country…read morechurch dropped into central London, and indeed almost disappears behind the dense trees and hedges of the gardens in the centre of the Boltons. The church itself is the work of the architect George Godwin, and was constructed 1849-50 on the then developing Gunter Estate. It was largely financed by the first incumbent, Rev Hogarth Swale. The church is largely in the Decorated Gothic style, with an aisleless cruciform plan. The exterior is very attractive, of Kentish ragstone and Bath stone dressings, with a short tower and spire (added in 1854). It sits in the middle of a lozenge-shaped garden, with park benches for visitors to admire the little garden next to the main west entrance. Entering via the West Door, the interior comes as rather a shock: it is severely whitewashed, and much of the stained glass was removed after War damage. The dark, heavy roof is supported on carved corbels showing the apostles, although these are hard to see through the whitewash. The altar was moved forward to the crossing in 1952, and the chancel turned into a Lady Chapel. I'm not convinced this presentation works - it feels in dire need of some memorials or banners on the nave walls to liven it up. Still, it retains its oak pews, and has an interesting and attractive bronze Pieta by Naomi Blake in St Luke's Chapel, as well as Godwin's original font. A few Victorian stained glass windows also survive, although the most notable is the bold, primitive-style East window by Margaret Kaye, inserted in 1955. The church itself is the centre of a busy Parish, with services in 'the best liberal Anglican tradition' according to its website.