masked by the houses in the street.' The principal entrance is by a Tudor door-way beneath this tower, having over its transom or head, an oblong compartment divided into panels, in which are various shields bearing the arms of the City of London, those of the Bishopric, and others. The subjoined engraving represents the west end of the church as seen in St. Mary-Axe.

The face of the tower is covered with Roman cement composition, as is the turret by which it is surmounted, and within is a peal of six bells. At the bottom of an old

court's " Repertorium." Vol. I. p. 266. Maitland's " Vol. II. p. 1062.

History of London."

1 Formerly it was even more completely hidden than it is now; for a house stood between the tower and Leadenhall Street; beneath which access was obtained to the church.

print of the church in 1736, drawn and engraved by West and Toms, it is stated that the bell tower and turret were erected in 1695; but the lower part of the tower and the winding stone staircase in one of its angles, leading to the belfry, have every appearance of being coeval with, if not older than the body of the church 1

The exterior of the east end of the church, which is seen in St. Mary Axe is plain, as is that of the north side which presents a series of flat pointed windows, each in four divisions, with a moulded string-course and parapet. There is another entrance to the church on this side, and a small staircase-turret which leads to the roof projects near the east end, with a doorway communicating with the exterior of the building.

The interior of this church is a good specimen of that style of architecture which more especially prevailed in England during the fifteenth century, known as the Tudor style; one distinguishing characteristic of which is the occurrence of flat pointed arches surmounted by horizontal mouldings, the triangular spaces by this means formed on each side of the arch, termed spandrels, being ordinarily filled up with shields and foliage.

The church which is spacious, consists of a nave with ailes, a chancel and an ambulatory, or lobby, formed beneath the organ gallery.2 The ailes are separated from the nave by clustered columns and obtusely pointed arches; above which rises a clerestory containing on each side six

out.

1 The turret was rebuilt in 1830, when the church was repaired throughOn this occasion the Hon. East India Company gave £200, and the West India Dock Company £50. towards the expense of repairs.

2 "The length of the church is 96 feet, the breadth 54 feet, and heighth 42 feet. The height of the tower is about 73 feet, and to the top of the tur ret it is about 91 feet." "New View of London," by Edward Hatton, Vol. J. p. 211.

windows divided by mullions. Between these windows is a series of paintings representing the twelve apostles; and in the spandrels, formed by the arches, are painted various incidents illustrating sacred history; the temptation of our Saviour, the woman of Samaria, and others, all of which were executed in the year 1726, at the cost of Mr. Henry Tombes, an inhabitant of the parish, as is recorded on a tablet hanging in the church.

The ceiling of the nave is divided into compartments by beams, resting on corbels, and these are again divided by ribs into square panels, with flowers and shields at all the angles. The spaces between the ribs are painted blue, and the flowers are gilded.

The ailes are lighted by large windows in character with the rest of the building, having stained glass coats of arms in the upper part, and the ceiling of that on the north side is somewhat similar to that of the nave. The ceiling of the south aile is of a simpler construction.

At the east end of the nave is a large pointed window containing portraits of King Edward the VIth, Queen Elizabeth, James I, Charles I, and Charles II, in stained glass of fine mellow tints, and the remainder of the window is filled up with stained glass of more modern date. The altar-piece consisted originally of four Corinthian columns supporting an entablature, vases, &c., but this has been very properly replaced by the present carved oak screen which partakes of the character of the building.

Over the chancel is affixed a picture representing the Heavenly Choir, which was presented by Mr. Tombes in 1725, and on the walls, on either side, are other paintings of landscape and buildings. The pulpit is of oak, displaying some tolerable carvings, and at the west end of the church is an organ which was erected by subscription in 1696.

The font is of marble, and has a carved wooden cover; it formerly stood beneath the organ, but is now on the north side of the chancel, and is shewn in one of the accompanying engravings.

The whole of the interior is fitted up with pews; but there are no galleries excepting that for the organ. This church we may say, appears to have been one of the earliest in which pews were erected, it being recorded, as we have before seen, that Stephen Jennings, amongst his other benefactions to the church soon after the year 1520, caused pews to be placed in the south chapel at his own cost. Previous to this, and indeed some time after it too, strong benches or "stolys" were provided for the congregation, and benefactions for thus "" stolyng" a church are often mentioned in old registers. 1 1 The church of St. Andrew Undershaft contains several interesting monuments, but none which have more claims on our attention than that to the memory of JOHN STOW, the indefatigable chronicler of the city of London, which stands on the north side of the chancel, and is faithfully represented in the annexed engraving.

The figure is well executed, and has the appearance of alabaster or marble: it is said however to be formed of clay, burned; a material that, Strype in his "Life of Stow," states, was occasionally used at the time this was made; but of which there are now scarcely any remains excepting this monument. It was formerly painted, but is at present of its natural colour, and is worthy of notice even as a work of art.

1 Bloomfield in his "History of Norfolk," (Vol. III. p. 512,) cites legacies made about 1502, for stolyng various parts of the church of Swaffham (the choir being fitted up with stalls,) and particularly for making "all the gret stolys of both sydes of the myd alley." Brayley's "Londiniana.” Vol.

IV.

p. 141.

66

The name of Stow is so intimately connected with the edifices and records of our city, and we have occasion so often to refer to his works in tracing the history of the LONDON CHURCHES, that a brief rehearsal of the principal events in his life appears to be called for. John Stow was born in London during the reign of Henry VIII. somewhere about the year 1525, and it is supposed was by trade a tailor. In 1549, we find him living near the well within Aldgate," now known as Aldgate pump, pursuing at the same time his calling, and the study of the history and antiquities of England, for which latter however his love was so much the more ardent, as to cause him sadly to neglect his business, and he was in consequence ultimately reduced to great poverty. For many years he vigorously toiled on collecting and collating MSS. bearing upon the much loved subject of his investigations, examining charters, and compiling chronicles of by-gone and present times, encouraged in his arduous undertaking by the promises and praises of some few men high in office, and his own unbroken spirit; by which means has been preserved to us the memory of many events and things, important in the history of our country, that otherwise had passed away for ever.

His devotion to these pursuits, it appears, exposed him to much ridicule and backbiting, as is proved by the reply of a contemporary to the request that he would carry on a continuation of Stow's Chronicle, "I thank God I am not yet so mad as to waste my time, spend two hundred pounds a year, and trouble myself and all my friends, merely to gain assurance of endless reproach, loss of liberty, and to bring all my days in question." In the 79th year of his age, however, James I, extended to him his royal patronage, and in consideration of the many years