Monuments in St John the Baptist Church, Hillingdon, Middlesex

St John the Baptist, Hillingdon, London.

St John the Baptist Church in Hillingdon contains a rich crop of monuments: two major ones from the 17th and 18th Centuries, and about 30 tablets from the 1600s through to the 20th Century, with particular strengths in the earlier period. The church stands a little outside from the town centre of Uxbridge, on the Hillingdon Road – Hillingdon Tube Station is no nearer than the Uxbridge one – but is easily walkable from either.

The body of the church itself is of the 14th Century, with some bits from the 13th Century and the square tower dating from 1629. It had a major restoration in the 1840s – the longer nave and chapels, and the chancel were added at this time, though the chancel arch is the very earliest part of the church: it retains a corbel with carvings of little beasts and a head. One of the two symmetrical aisles has several small carved half-figures as corbels supporting the beams of the roof – odd little things, cramped and medieval.

Now to the monuments. First the two grand ones:

Sir Edward Carr monument and Lord Henry Paget Monument

Edward Carr Monument, and allegorical figures.

Sir Edward Carr, d.1636/7, put up by his wife Dame Jane, daughter of Sir Edward Onslow of Knowle. A grand monument of the kneelers type (see this page), but of a size and quality far above the norm. The freestanding white marble figures kneel on cushions, facing each other across the normal little prayer desk. He wears armour above baggy trousers and tall, crinkly boots; she a fine skirt and top with puffed arms, and a cap above her ringletted hair. In front and facing forwards, two daughters, of much smaller size, the elder as a miniature young woman, the younger clearly a small child, both standing and holding hands. The group rests on a chest tomb, and a free standing pillar rises on each side, then a square pilaster, with in front of it a shorter pillar bearing the beast from the relative crests of the two families – a white hart for Sir Edward, an eagle for Dame Jane. Above, a canopy with tall pointed centre, leaving space for a large shield of arms (his). Knotted curtains are drawn up on each side, and on top, on either side of the central peak in the spandrel positions, sit relatively large allegorical girls. Justice is on the left as we look at the monument, holding her scales in one hand, the other snuffing out a long torch, indicating the extinction of the male line, though the two daughters included in the monument survived him [for those anxious as to the continuation of the family, it will be reassuring to know that his elder daughter, Philadelphia, married a baronet and had 9 children, some of whom kept a connection with Hillingdon]. On the other side, the figure holds a Victory wreath with a dove sitting inside, rather touchingly (it may represent the soul, thus 'victory over death'), and in her other hand, a leafy branch. Both figures are of course classical, wearing long drapes leaving arms and feet bare. (If you like allegorical figure sculpture, there are many on this site, linked on this page.) The whole ensemble combines a variety of white, black and coloured marbles and alabaster, and has a variety of additional minor carving and winged cherubic heads to give an overall sense of richness and opulence. One of the inscriptions on the base notes the repair of the monument in 1775, by the Rt Hon George Onslow.

Monument to Lord Henry Paget, Earl of Uxbridge.

Lord Henry Paget, Earl of Uxbridge, Baron Pagett of Beaudesert, and Baron of Burton in the County of Stafford, d.1743. The inscription to this noble monument notes his two wives, the second of whom, Elisabeth, daughter of Sir Walter Bagott, died in 1749 and is commemorated with an additional small inscription. A full length white marble effigy of Lord Paget has him reclining Roman fashion on one arm, legs crossed, draped likewise in Roman attire and wearing open sandals, and with tightly curled hair increasing the impression that here is a modern-day Caesar. He reclines upon a chest tomb, with large pots to either side, and in front of a portico. This has detached Composite pillars, with plainer pilasters behind, supporting a pediment with under it an arch, so that there are two spandrels, with decorative carving (lots of examples of spandrel decorations are noted on this page). Behind the figure, a tall black obelisk rises to cover the centre of the arch, bearing the coat of arms, and with an ornate garland of flowers above it. The figure was at one time attributed to Peter Scheemakers, presumably on stylistic grounds – while he certainly made figures in some degree similar to this one, I am not familiar enough with his work to offer a view.

Newdegate Family and Nicoll Family monuments

Next to note is a series of 18th Century wall monuments to the connected Newdegate Family and Nicoll Family:

• Robert Beale, d.1717, Barrister of Grays Inn, and wife Margaret, d.1711, with a eulogy, put up by their eldest daughter Juliana Newdegate, and noting deaths of five children of George and Sarah Newdegate, and on the apron, her own youngest daughter Juliana who died in infancy. A tall panel with fluted side pilasters, entablature, curved broken pediment enclosing a shield at arms, and with two tiny flaming urns at the sides. Below, mammilated apron, flanked by two solid brackets. The whole in several monochrome marbles, including an attractive white one with thick black streaks rather more forceful than normal Carrara.
• John and Juliana Nicoll, of whom John died in 1723, Juliana in 1724, with a long Latin inscription on a violin-shaped panel within an elaborate cartouche, with knotted tops, hanging fringes, various coils and swirls, and within the border, fruit, flowers and three winged cherubic heads presumably to represent the two persons commemorated and their brother Samuel Nichol. At the top, a painted shield of arms, and above this, a single gold-painted lion. Superior craftsmanship.
• George Newdegate, d.1735, erected by his widow. The inscription writes that he was ‘late of this Parish, descended of the Ancient Family of Sir Richard Newdegate Baronet, Sergent at Law.’ His children largely perished, only Jenkyn Newdegate surviving him (see note and picture below). White panel in dark frame, with around this a more substantial surround of streaky white marble, including pilaster tops, scrolly sides, open pediment, rather baroque, and below all, an oversized apron with a painted shield at arms.

  Jenkyn Newdegate, d.1740, and Samuel Nicoll, d.1758.

• Jenkyn Newdegate, d.1740, with short Latin inscription. A substantial panel, as a chest tomb end in veined white marble with heavy top and bottom shelf, broken swan-necked pediment with the base of a large pot emerging from it. This pot, unusually is more than a relief or shallowly domed, but emerges as a complete semicircle in cross section. The backing, sides and apron are in dark grey marble, and the top is shaped to make a semicircle above the pot, with a further heavy surround. On the apron is a cartouche with shield of arms painted on. Altogether a confident work aiming for largeness and solidity over ornamentation.
• Mrs Catherine Barradall, d.1757, wife of Henry Barradall of Little Hillington [Hillingdon], daughter of Robert Newdegate of Uxbridge Common. Panel with a large solid pediment above, shelf and dark apron below, which latter bears a small cartouche of arms, painted. From the dimensions above and below, the monument presumably once had side borders or pilasters.
• Samuel Nicoll, d.1758, of Uxbridge Common, a lawyer, who married Sarah, widow of George Newdegate and heiress of Godman Jenkyn of Harpenden, who erected the monument. Blocky panel with fluted pilasters, entablature, pediment broken by a cartouche bearing arms, two flaming pots as acroteria, and below, heavy brackets and shaped apron bearing a winged cherubic head. Effectively dramatic through the use of pale marble and black striated marble, with the apron in a lighter grey (see picture above right).
• Mrs Sarah Nicoll, d.1766. The inscription notes that her first husband was George Newdegate, whose monument is close to hers, her second Samuel Nicoll, both being grandsons of Robert Beale, and that the monument was erected by her cousin John Osborn of St Albans. White marble panel with pediment above, shelf and apron below, and strips of dark marble to left and right to form pilasters. The pediment is damaged, with the central portion removed; most likely it was designed as a broken pediment with a pot or cartouche of arms occupying the empty spot. The shaped apron, in grey streaky marble, between two small brackets with carved acanthus leaves, bears crossed branches, one ferny, the other from the olive tree. A thicker bracket below bears a further floral design.

Monuments to the Heming Family:

There are three of these:

• Mary Heming, d.1799, wife of Thomas Heming. Inscription on a white oval panel against a plump obelisk backing, this and the apron below a white shelf being of a brecciated grey, white and red-brown marble, most attractive. A motto and painted shield of arms on the apron, and above the oval, a small heraldic lion sejant.
• Thomas Heming of Hillingdon, d.1801, in an oval on the body of a pot in relief, draped almost symmetrically, finely done, white marble on a shaped grey marble background.
• Ann Heming, d.1818, and husband George Heming of Stanmore, d.1807, son of Thomas Heming. White relief pot with finely carved handles, commemorating Ann Heming, with the husband recorded on the large base. On a grey eared backing.

Thomas Heming of Hillingdon, d.1801.

Other monuments

And the rest of the monuments, in date order, with some of particular interest:

• Thomas Harbie, d.1592, monument erected 1623, and three wives, respectively Alice, daughter of John Fox, Margaret, daughter of Malin, Citizen of London, and Katharine, daughter of Clement Throkmorton and Katharine Nevill, sister of Lord Abergavenny. After 50 years of age, he had six sons and five daughters with Katharine, of whom one, Emm. [Emma? Emmeline?] , died in 1592. Square panel with black border, and surround in red and pale beige alabaster. An upper shelf bears a shield of arms in a ‘ship’s wheel’ design surround, quite characteristic decoration of the period; four other little shields, all painted, are on the ends of the shelf and the sides of the monument. A blank rectangular plaque is below the main inscription; this may have once been written on. Heavy strapwork and curls are in relief on the border, giving a good, solid feel to the monument. He was an important personage locally, and his arms are incorporated on the exterior of the church tower.

  Thomas Harbie monument, erected 1623.

• Sarah Harbie, d.1606, 'daughter of Ferdinando Pointz, Late of London, Grocer, wife to Clement Harbie, Skinner, who had issue by her Thomas Harbie'. A painted panel, with just the inscription and a relatively large shield, twin knight’s heads upon it, one bearing a hand, one perhaps a phoenix, and flamboyant emergent feathers and whirls. Presumably once part of a larger monument.
• Mary Walker, d.1685, on an extremely fine cartouche, bordered with flowers and fruit carved exceedingly well, acanthus and scrolls at the top, and above, a painted coat of arms on a mini cartouche, with what seems to be a greyhound’s head on top, painted. The bracket at the base is carved in the form of a bat-winged skull, a not uncommon device of the time. However, the skull wears a garland of leaves, which is less usual in my experience. See picture below - you will need to click to enlarge to appreciate it.
• Christopher Ingilby, d.1712, the infant son of Sir John Ingilby of Riply in Yorkshire, baronet. A square panel with semicircle at the top with a dove carrying a branch carved in low relief. At the base, a broad-winged angelic head.
• John Walker, d.1715, of Little London in the parish (which later became Hillingdon Park), and wife Elizabeth, d.1734, and son John, d.1715. The inscription notes, almost admiringly, that he married aged 63 and had five children. Black panel with a surround in white marble with grey veins, including receding pilasters, and a curved broken pediment without backing, containing somewhat awkwardly a cartouche with painted shield of arms. Beneath, the shallow apron incorporates a winged cherubic head, rather good of its type, above a small leafy bracket.
• Francis Alexander, d.1722, witha eulogy. Classical panel of noble proportions, with the central oval inscribed panel flanked by fluted side pilasters, with above, an entablature and curved, broken to admit a painted, carved shield of arms.
• Carolina Walker, d.1723, youngest daughter of John and Elizabeth Walker. A cartouche with carved scrolly edgings, and winged cherubic head at base.
• Willam Tatton, d.1736, Lieutenant General of his Majesty’s Forces, Colonel of a Regiment of Foot, Governor of Gravesend and Tilbury Fort. And a further, longer inscription to his granddaughter, the Hon. Elizabeth Flower, d.1813, dedicated by her neice, the Hon. Caroline Flower. An oval within a large rectangle of white marble, with fluted pilasters, broken pediment and shaped apron in a white marble with dark veins, perhaps a variety of Carrara. In the pediment is a cartouche, now blank, with knight’s head at the top with the usual embellishments, and two small flaming urns are on the slanting cornices. The overall impression is of a correct, austere monument without frivolity.

  Mary Walker, d.1685, and John Mist, d.1737.

• John Mist, d.1737, and wife Elisabeth, d.1741. On a pale panel, rounded at the bottom in place of an apron, with fluted pilasters, with receding outer curly pilasters, and completely open pediment with curled top, and a little ball on top. The open space is occupied by a sunburst - see picture above. All except sunburst and inscribed area are in a grey and white brecciated marble which gives a distinctive and artistic look to the monument.
• Honorouble Lady Ann Scott, d.1737, a young daughter of the Duke of Buccleuch, as a hanging drape, with zig zag drop folds to the sides, the usual fringe at the bottom, and nice scrolls surrounding a small diamond containing a coat of arms at the top. Finely carved.
• Sarah Frances Ford, d.1783, with a poem. White marble, crisply cut, with fluted pilasters to the side, shelf above, and dark backing at top in the shape of a pediment with a low relief lamp, finely delineated, upon it, and a shallow apron below.

  Thomas Lane, d.1795, by John Bacon the Elder.

• Thomas Lane, d.1795 or before, of a family resident at Cowley Grove, who ‘having acquired a fortune by constant application and unspotted integrity in business, retired and spent the remainder of his life in doing good.’ The monument was put up by his nephew, the Revd. Richard Harrington. Above the inscription, which is on an apron, is a tall obelisk. On this is a high relief sculpture of a classical girl holding a roundel with a profile portrait of the deceased. He is shown as an elderly man, eye sunken, nose protruding, with a softness of age to cheek and chin. He wears a cloth hat. By contrast, the girl is ideal and Classical in a Hellenistic rather than Hellenic fashion, with nicely studied hair and complex drapes. She is seated upon packing cases, perhaps indicative of the line of business which made the deceased his fortune. With such a quality of carving, it is unsurprising to find that the sculptor is the accomplished John Bacon the Elder, who made many important church monuments.
• Anne Jane Mills, d.1808, wife of the Vicar, Revd. Thomas Mills (see below), on a chest tomb end with carved decoration to the top and acroteria, and little feet. On a grey and white marble backing.
• Revd. Thomas Mills, d.1810, on a white marble oval on a shaped grey mottled marble backing, with below it a shelf and two feet, with minor geometric décor.
• Mary Staunton, d.1819, wife of Thomas Staunton, oval panel with dark surround.
• John Maud of Hillingdon, d.1820, and wife Elizabeth, also d.1820. Rectangular panel with relief pot on top, draped asymmetrically, on a slaty black backing. The monument is signed by a local man, John Tomlinson of Uxbridge. I have only seen a little of his work, but what I have seen, like the one here, consists of conventional modest white tablets on black backings, typically with at least some decorative element, such as the pot here.

  

  Local stonemasons' work: Tomlinson of Uxbridge, and E. Burgiss of Uxbridge.

• Thomas Hussey, d.1824, wife Lady Mary Hussey, d.1840, and her sister Lady Katherine Walpole, d.1831, the latter two being daughters of Horatio, Earl of Orford and Rachel, daughter of William, 3rd Duke of Devonshire. As an austere chest tomb end with no decoration, on a rectangular black backing.
• Sir William Saltonstall Wiseman, Baronet, d.1845, and wife Elizabeth, d.1862, as a casket tomb end, with shelf, lion feet, on a black backing, with crossed palm leaves at the base, crisply done. This monument is signed by another local stonemason, E. Burgiss of Uxbridge. E. Burgiss, whose monuments date from around 1820 through to at least 1850, has two similar monuments in nearby Ickenham Church, of which the one to Harriet Truesdale bears a carving of a crossed branch and crucifix. He was one of a dynasty of stonemasons, with John Burgiss, apparently his father, producing slightly more ornate wall tablets, and a third member of the family, William Burgiss, also being a stone mason at a similar period. See this page for more information.
• Captain George Dalton RE, d.1854, round-arched panel with similarly shaped black backing, a thick shelf below bearing the motto ‘Patientia Victrix’, and a shield of arms in an inscribed circle above the inscription. By W.T. Hale, of 65 Edgware Road, London.
• Evelyn Godfrey Worsley, d.1916, Headmaster of Evelyns, killed from wounds in the Battle of the Somme. Bronzy metal panel with border of repeating leaf patterns, and a Classical frame. Made by Hartson Peard & Co Ltd.
• Robert Charles Foster, d.1917, noting the Reredos was erected by his wife, panel with black border and two small shields of arms. And beneath this, a small panel apparently in granite noting the panelling on the east wall and the altar rail were erected in memory of John Finnis Stilwell and his wife Katherine Emily Stilwell, 1847-1929, with the altar given in 1937.
• 1st Lieutenant Hon Charles Thomas Mills MP, of the 2nd Battalion Scots Guards, killed in action 1915, a blocky panel of marble with small coat of arms, and little legs and top shelf, clasped round the base of the medieval Chancel arch.
• Charles William Mills, 2nd Baron Hillingdon, d.1919, equivalent monument to that above, on the other side fo the Chancel arch.

Brasses:

A large stone slab bears the brasses of Drew Saunders, d.1579, consisting of separate insets of the inscription, husband and wife figures, smaller figures of son and daughter, behind the father and mother respectively in the usual fashion, with everyone praying, and above the figures, a diamond shape bearing a sigil which would appear to be Saunders’ mark, incorporating a D and an S. There is an indent where an upside down shield would once have been, between the figures. The delineation of the figures shows them standing, heavily draped enough so that there is little sense of the lines of the figure underneath, posed gazing somewhat inwards to face almost towards each other, and thus their praying hands are shown in three-quarters view. As a merchant, Saunders wears robes rather than armour, and we can see he is wearing ruffed sleeve cuffs and richly padded shoulders, suggesting wealth. He has a short beard and shoulder length hair. His wife has a long robe covering the feet, sleeves flared at the top, tight-fitting lower down, with ruffs again, and a big ruff at the neck, and wears a bonnet or hood so that her face is framed. Her face, which on an effigy of a little later would generally be rather old and unflattering, is here youthful, with a nice rendering of lips and chin and cheek. There is something of a presence in these figures, a feel that we are really gazing on two individuals as they looked nearly 450 years ago.

Separate stone panels bear small, fragmentary brasses, including shields, and more interestingly, a group of six standing boys, who would be the sons ranged behind or beneath some central figure, now lost, and a separate group, of three girls, which would similarly have been placed behind or under the mother, and two of which would seem to have died before their parents. Another panel shows the caped body and hands from another brass, which would have been either a male clerical figure or, less likely, a cloaked woman.

Also in the Church

Carving on base of font, and Arts and Crafts stained glass.

We may note the pulpit, alabaster highly carved with leafy borders, and little Gothic recesses all the way round bearing figures of saints. Rather late 19th Century, I would think. The font is interesting: a great circular bowl, with an octagonal surround, with alternate panels of angels and birds or winged beasts. More angels under the curve of the bowl. Below, on the base, a naked figure in the centre of each of the four sides, and a seated lion at each corner with curly locks to the mane. The figures are medieval in style, with large heads and lively carving, and the lions are also early in look. Whatever the original date, I would guess the upper part had a good makeover in the later 19th Century, and the lower part with figures and beasts was just tidied up a little.

Finally, the stained glass. There is not so much of it, but we must mention firstly a rather fine Virgin and Child, with particularly good face and hands of the Virgin, and little panels of what we must presume is William Morris glass with Angel-musicians, very much in the style of Burne-Jones, but the faces a little hard-edged for his hand. Alfred Parsons perhaps, but I really have no idea. An asset, regardless.

Churchyard

Tomb of John Rich, d.1761

Outside, in the compact graveyard, overgrown with ivy and very atmospheric, is the much remarked on tomb of John Rich, d.1761, patentee of Covent Garden and inventor of the English Harlequin. His tomb is rather an ornate thing, consisting of a great stone casket, slanting outwards at the sides, with a heavy lid carved with a cartouche bearing arms, crossed branches and scrolling at the corners, converging to a square, flat top which may once have borne an urn. The upper lip of the casket is carved with a leaf and flower pattern, and the ivy-covered base has further minor decorative carving, all appropriately scaled for the size of monument, and is supported on four heavy scrolled feet. Panels on the side record a brief eulogy to Rich, and other members of the family, including his second wife Amy, his daughters and their husbands.

One of several chest tombs in the evocative churchyard.

There is a good collection of other chest tombs, none so ornate as that of John Rich, ivy clad and evocative, from the 18th and early 19th Centuries. Among the headstones, there are several with a carved skull and crossbones at the top, from the early 18th Century, and others with a sunburst design, as well as other minor decorative carving.

18th Century headstone with carved skull and crossbones.

With many thanks to the Church authorities for permission to show pictures of the monuments inside; their website is http://www.stjohnshillingdon.org.uk/resources/churchhistory.

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Ruislip Church, also in Hillingdon // West Drayton Church, Hillingdon // Hayes Church // Uxbridge Church // Greenford Church // Denham Church, near Uxbridge // Sculpture on the Uxbridge Line

Burgiss of Uxbridge, stonemasons // Monuments in some London Churches // Churches in the City of London // Introduction to church monuments

Angel statues // Cherub sculpture

London sculpture // Sculptors

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