St Marylebone Parish Church: History03

By the end of the 18th century the farmlands of the parish had been extensively developed. Portland Place, Harley Street and Wimpole Street had become a residential area for wealthy families. The little church was hopelessly inadequate for a hugely increased population. Led by the Duke of Portland, who owned much of the neighbourhood, the parishioners erected the present church at a cost of £80,000. It was designed by Thomas Hardwicke and consecrated in 1817. Originally a double gallery ran round the entire church. In the south corners were two rooms fitted with fireplaces which served as family pews. A large pulpit and reading desk projected well into the church and the high box pews as well gave it all a somewhat congested appearance.

Behind the altar hung an oil painting of the Holy Family, painted by the American-born artist Benjamin West (1738-1820), who at that time had lived in Marylebone for many years and was at one time President of the Royal Academy of Arts; his dedication can be read (with difficulty) at the bottom right of the picture. Above this picture was the organ case and console and the choir loft. In 1859 the painting of the Holy Family was scraped and cut by a madman, who further defaced some of the marble tablets. Charles Dickens (1812-1870) and his family lived nearby in Devonshire Terrace. His son was baptised in this church. The ceremony is described by Dickens in his novel "Dombey and Son". Many of the characters in David Copperfield are based on well-known persons then living in Marylebone. In 1882, with the arrival of an energetic new Rector, the Revd W. Barker, the Church Council decided on an extensive redevelopment of the church, in order, as the Rector said, "to bring it more into harmony with the arrangements and decorations suited to the religious demands of the present day". The necessary funds having been subscribed work was begun in 1884 and a memorial stone, laid by Mrs Gladstone (wife of the Prime Minister) can be seen in the outside wall of the apse.

The new plans were drawn up by Thomas Harris, architect and churchwarden of the parish. The main features of the alterations were the removal of the end wall, the creation of a chancel for a robed choir and a sanctuary within the new apse. The upper galleries on the sides of the church were removed, thus revealing the full length of the windows and letting in more light. New, beautifully carved mahogany choir stalls with angel ends were installed. The floor was covered with marble mosaic and a fine marble pulpit and two balustrades were constructed, the latter bearing the letters Alpha and Omega. A gilded cross in the ceiling is above the site of the original altar. The new decorations, full of symbolic references and scriptural quotations, with Alleluia as the central theme, were in the neo-classical style combined with the pre-Raphaelite love of detail.