The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 386, August 22, 1829

The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 386, August 22, 1829
Various

Various

The Mirror of Literature, Amusement, and Instruction / Volume 13, No. 386, August 22, 1829

ST. PETER'S CHURCH, PIMLICO

The engraving represents the new church on the eastern side of Wilton Place, in the Parish of St. George, Hanover Square. It is a chaste building of the Ionic order, from the designs of Mr. Henry Hakewill, of whose architectural attainments we have frequently had occasion to speak.

The plan of St. Peter's is a parallelogram, placed east and west, without aisles; the east being increased by the addition of a small chancel flanked by vestries. The west front, in our Engraving, is occupied by an hexastyle portico of the Ionic order, with fluted columns. The floor is approached by a bold flight of steps, and in the wall, at the back are three entrances to the church. The columns are surmounted by their entablature and a pediment, behind which a low attic rises from the roof of the church to the height of the apex of the pediment; it is crowned with a cornice and blocking-course, and surmounted by an acroterium of nearly its own height, but in breadth only equalling two-thirds of it; this is finished with a sub-cornice and blocking-course, and is surmounted by the tower, which rises from the middle. The addition of a steeple to a Grecian church forms a stumbling-block to our modern architects, forcing them to have recourse to many shifts to convert a Grecian temple into an English church, a forcible argument for the rejection of the classical styles altogether in this species of buildings. [1 - See Gentlemen's Magazine, April, 1829.] Mr. Hakewill has, however, in part surmounted this difficulty, and the effect produced is not bad, as great value is given to the front elevation by it.

The tower consists of a square in plan, in elevation consisting of a pedestal, the dado pieced for the dials of a clock, sustaining a cubical story, with an arched window in each face, at the sides of which are Ionic columns, the angles being finished in antis. This story is crowned with an entablature, above which rises a small enriched circular temple; the whole is crowned with a spherical dome, surmounted by a cross.

The body of the church is built of brick, with stone dressings. The interior is chastely fitted up. The altarpiece is Mr. Hilton's splendid picture of "Christ crowned with thorns," exhibited at Somerset House, in 1825, and presented to this church by the British Institution in 1827.

The ground for the site was given by Lord Grosvenor, and the sum of 5,555l. 11s. 1d. was granted by the Royal Commissioners towards the building. It will accommodate 1,657 persons. The first stone was laid September 4, 1824, and the church was consecrated by the Bishop of London, (Dr. Howley,) July 20, 1827.

PSALMODY

(To the Editor of the Mirror.)

I have lately made a journey to the metropolis for the purpose of inquiring by my own personal attention and otherwise, whether any improvement had been made in the Psalmody of any of the numerous new churches and chapels in and near London. I have visited by far the greater part of them. In many of them I find no improvement, but there are two or three which merit distinction.

In the majority of the churches, I observe the singing of psalms or hymns (for I have not yet, after three months, heard an anthem) is confined generally to about three verses, and those more ordinarily of the common metre; the singing is very little of it congregational, but is chiefly performed by the schools of charity children, and there does not appear to have been any instruction for their singing in any other than the treble. The organists in general are very good performers, but, however well that office is filled, the voices of the congregation are wanting, by which a great improvement would be given to the harmony. In two of the congregations I happen to have a more numerous acquaintance, and know that numbers of the congregation have excellent judgment and good voices, and many are good performers on the piano-forte and harp. In conversing with several of them on this interesting and (to me) sublime subject, I have heard as an objection to their joining in the psalmody with any extensive power, that there are no persons, exclusively of the organist, to lead the voices, whether treble, counter, tenor, or bass, and yet what a delightful opportunity do these new churches afford; in general the sound is well and equally distributed.

The sublimity of this part of divine worship has been well expressed by many of our poets, translators, and versifiers of the Psalms—one of them speaks the feelings of a sincere congregation when he says,

Arise my heart! my soul arise!
Jehovah praise! sing till the skies
Re-echo his ascending fame!
Rejoice and celebrate his name!

this does not admit of a deadly silence in the churches; and another excellent appeal to the true believer is made in the following beautiful and sublime act of devotion:—

Salvation! let the echo fly!
The spacious earth around!
While all the armies of the sky!
Conspire to raise the sound.

It is the conviction not only of myself but of others who are in the same order of the musical profession, that the means of drawing forth the universal voices of congregations is by a number, not less than four, nor more than twelve, being appointed by the authority of the clergyman or minister, to sing with correct harmony, and with rather a louder tone than they might do if only an ordinary singer in the worship of the day as a congregational attendant. Those four (or more) voices would have the effect, in a few months, of producing a great improvement in the singing by the congregation at large; but such an appointment must not be alienated from its main purpose. These voices, scientifically as they will be exercised, must not sing in solos, duos, trios, or quartettes; they must be faithful to their institution, and must lead the congregation; not merely exhibit themselves, like the professional singers in the Roman Catholic chapels, but direct the voices of all that may feel the animating force of the 89th Psalm—

Lord God of hosts thy wond'rous ways,
Are sung by saints above!
And saints on earth their honours raise
To thy unchanging love!

The only instance I have met with in any of the London churches or chapels of the Church of England (there may be others) is at the St. James's Chapel, near Mornington Place, on the road to Hampstead. I attended at that place of worship lately, and was delighted with the whole of the services, wishing only that greater numbers of the congregation had joined in the singing, which was conducted precisely on the principle of four being appointed to lead the congregation: the four voices were excellent, and naturally and easily led many to join, and I cannot doubt, but that this superior arrangement, whoever was the author, will tend to make the singing in that chapel an example to many others.

I lament that I am obliged to leave town, and may not be here again for several months, but when I do, I shall humbly offer my services to the clergyman of the chapel, for the improvement of so judicious a plan, and extending it to other chapels of the same parish.

I should offer some apology for not having noticed the discourses, though my remarks originate and have been chiefly confined to the psalmody. I will not, however, let this opportunity pass of saying the sermons, both morning and evening, were excellent, the attention of every part of the congregation was great; throughout all the services there was, while the minister was speaking, and the people not required to join, a most interesting but attentive silence, and in the evening I retired with a sympathetic feeling which I cannot describe.

In my next (should this receive your attention) I shall send you a few remarks on the psalmody of the new churches of Marylebone and Trinity.

CHRISTIANUS,

A Cathedral Chorister.

THE LAY FROM HOME

(For the Mirror.)

Its music beareth o'er my widow'd heart
A tale of vanish'd innocence and love,
And bliss that screw'd around the ark of life
Sweet flow'rs of summer hue. It hath the tone,
The very tone which wrapt my spirit up,
In silent dreams mid visions. Oft, at eve,
I heard it wandering thro' the silver air,
As if some sylph had witch'd the stringed shell
Of woods and lonely fountains:—and the birds
That sang in the blue glow of heaven, the trees
That whisper'd like a timid maiden's lips,
The bees that kiss'd their bride-flow'rs into sleep,
All breath'd the spell of that enchanting lay!

Whence came it now? perchance from yonder dell,
O'er which the skies, in sunny beauty fix'd,
Their sapphire mantle hang. Its Eden home
Is in some beauteous place where faces beam
In loveliness and joy! To hail the morn,
The infant pours it from his rosy mouth,
Ere, o'er the fields, with blissful heart he roams,
To watch the syren lark, or mark the sun
Surround with golden light the rainbow clouds.

That music-lay awak'd within my heart
Thoughts, that had wept themselves to death, like clouds
In summer hours.—It brought before mine eyes
The haunts so often worshipped, the forms
Revealing heav'n and holiness in vain.
Alas, sweet lay, the freshness of the heart
Is wasted, like an unfed stream, away;
And dreams of Home, by Fancy treasurd up,
Remain as wrecks around the tomb of Being!

REGINALD AUGUSTINE.