St Katharine Cree, City of London, Monuments

St Katharine Cree survived the Great Fire of London, and is of interest to these pages for its monument with effigy to Sir Nicholas Throkmorton, and 25-odd panel monuments including an early Classical one, four 18th Century cartouches, and from the end of that Century, a panel with a finely carved girl and pot by John Bacon RA. The Church stands in Leadenhall Street, just a few minutes walk from Bank Station and close to several other City Churches.

St Katharine Cree, 19th Century views and today.

Church building

A few words on the Church building itself. In medieval times, St Katherine Cree stood in the cemetery of the Augustinian Priory of Holy Trinity, Christ’s Church, Aldgate – ‘Cree’ being supposed to be a contraction of 'Christ's Church'. On its dissolution in 1532, the grand Priory church was offered as a swap to the parishioners of St Katharine Cree, who unfortunately refused, and it was subsequently pulled down. St Katherine Cree was rebuilt from 1628-30, the first brick being laid by Martin Bond, whose fine monument is in St Helen Bishopsgate. The Church thus a rare Jacobean church ‘hybrid Gothic Classical’ design of the time of Bishop Laud, who consecrated it with an elaborate ceremony later used against him at his trial. Pevsner, the architectural historian, calls St Katherine Cree ‘the most important church in London between [Inigo] Jones and Wren. The tower is older, dating from about 1504 according to John Stow, writing in about 1598. From the outside we see this low, square-sided tower at the corner of Creechurch Lane, with a small cupola on top, dating from 1776 (after a donation by Sir John Percivall, Merchant Taylor), and one aisle running alongside Leadenhall Street; the clerestory of the nave can just be seen from the opposite side of the road. The very base courses of masonry are distinct, and are the foundations from the previous, medieval church.

The building is long, tall inside with a vaulted ceiling, and has a rose window or Catherine wheel high up at the East end, celebrated as being understood to be copied from that of Old St Paul’s Cathedral before it was consumed in the Fire. There is a clerestory to the nave, but the aisles are relatively tall too, and it is on their walls where the monumental panels can be found.

St Katharine Cree, interior views.

Sir Nicholas Throkmorton monument

Sir Nicholas Throkmorton, d.1570. ‘Chief Butler of England, one of the Chamberlaynes of the Exchequier, Ambassador Lygyar to the Quene’s Majestie Quene Elizabethe....’. The chief monument in the Church, and like the tower, a survival from the previous church on the site.

We see the recumbent effigy of the much celebrated knight in pink alabaster, lying under a canopy supported by two Tuscan pillars, the inscription on the backing above the figure, surrounded with profuse festoons of carved flowers, strapwork and leafy, scrolly space-filling designs. Sir Nicholas is dressed in plate armour, but has a ruff which makes his head, which is turned towards the viewer, look strangely posed, and pantaloons which give him an odd profile. His head rests on a doubled mat upon his helmet, and his feet against a hawk. Underneath, there are three supporting scrolly brackets, with panels between, but all painted over – I would think this is either the surviving part or a 19th Century replacement for a bulkier base in the form of tomb chest, perhaps with kneeling figures of his wife or offspring. The richly coloured alabaster and the excellent carving of the figure and the surround make this a most sumptuous monument, and worth a visit to St Katharine Cree on its own. The monument has been ascribed fairly convincingly to Cornelius Cure, as is that of William Pickering in St Helen Bishopsgate – see this page, and Sir Thomas Ofley in St Andrew Undershaft – see this page, as well as work in Westminster Abbey. Throgmorton Street nearby to St Katharine Cree is named after Sir Nicholas.

Sir Nicholas Throkmorton, d.1570, attributed to the sculptor Cornelius Cure.

And there is another sculptural link. The inscription notes that Sir Nicholas married Anne Carewe [Carew], daughter to Sir Nicholas Carewe, ‘and begat by her tenne sonnes and three daughters’. The Carews were the dominating family of the Beddington area of Essex, now within South London, and when the heir to the family died without issue, the youngest son of Sir Nicholas’s profuse brood was adopted into the family to continue the line, taking the Carew name. There are marked similarities of the monument to Sir Francis Carew in Beddingon Church to Sir Nicholas’s one – see this page.

17th Century monuments

Bartholomew Ellnor, d.1636, his wife Alice [Alicia Cheney] Ellnor, d.1637, and relatives. A fine 17th Century panel, in an unusual format. The black central inscribed panel, difficult to read as such things often are, has the top corners clipped off, and the broad surround includes a standing couple of figures each leaning an elbow upon the shelf so formed. The man is an elderly, wizardlike figure in a long gown with a hood, sharply delineated features and a flowing beard and moustaches. The woman, likewise fairly old, has a longer hood which sweeps under one arm. Under them are painted shields of arms. The top of the monument consists of a painted shield of arms with surrounding drapes and flourishes under a Baroque curved shelf, broken in the centre. The base includes a long coffin, to the sides of which are scrolls with drapery pulled through the centre, and forming a central festoon above which is a grim skull with bones behind: one of the better and more macabre examples of such carving (if you like such things, lots more on this page). A good and interesting piece. Pevsner quotes an attribution of this piece to Humphrey Moyer, one-time Master of the Masons’ Company, but others have not been convinced.

17th Century grand Classical panels: Ellnor, Tovey, Spencer.
Dr John Tovey, undated, early 17th Century. Black panel in a Classical surround, with side pilasters bearing low relief stylised floral carving, upper and lower shelves. On top of the upper shelf is a central black, domed panel surrounded by strapwork, with an obelisk on each side; at the base is an apron with further low relief scrolling and stylised leaves and flower. The suggested date is given by the Royal Commission on Historic Monuments, and feels right, particularly the little obelisks and the strapwork round the ball at the top.
Richard Spencer, d.1667. A more conventional panel. The design is essentially Classical, with a central panel, framed and flanked by free-standing pillars, with dark shafts and carved Corinthian capitals, above which are mouldings in place of an entablature, and a pediment, broken in the centre as is often the case to fit a large shield at arms carved with much mantling. At the base is a broad shelf supported on curvey brackets with a central winged cherub head, and a central terminus carved as a bunch of grapes. The less usual aspects are that the central panel is round, encircled by a bay-leaf frame, the open pediment having upon it heaps of fruit emerging from a leafy wrapping, and the cherub head design, which is unconventional in the treatment of hair and wings (for lots more winged cherub heads, see this page). None of these are at all unique – for example the round or rounded central panel within a squared off outer frame is found at an earlier date in the Martin Pring monument in St Stephen, Bristol, and the Sir John Franklin monument in Willesden Church, before becoming rather more familiar from the 1670s, but it is the combination of these elements which makes this piece less than usual. Pevsner quotes an attribution of this work to Thomas Cartwright Sr, but as with the Ellnor monument, others have not seen fit to repeat it.

18th Century monuments

Samuel Marshall, d.1716/17, with a long eulogy beginning ‘He was a Bright Scholar to the // Excellent Dr Blow, An Admir’d, Useful and Sedulous, // Ornament to ye Choir of St.Pauls, Above XI years ye Exquisit //Organist of THIS Church, and Master to Orlier good Organistes.’ The monument is carved as a hanging drape, with knot above a small shield fo arms at the top, festoons to knots at the sides, then hanging freely down, and ending in a fairly flat base with a winged cherub head to support it from below, with perhaps some small portion missing. See picture at top of page - you will need to click to enlarge to see the detail.

Cartouche monuments of the 18th Century.
Sir William Des Bouverie, Baronet, d.1717, and his wife Dame Anne Des Bouverie, d.1739, and five unnamed grand-children. A splendid example of a cartouche monument, one of several in the Church. The ornate surround to the central panel is made of a mix of drapery, scrolling,and finely carved flowers at the top and base. There are two winged cherubs rather than just cherub heads at the top sides, each with a plump foot protruding from behind the tasselled drapery at the sides. Between them is the painted coat of arms within a smaller cartouche, and at the top is a small pot with festoons of flowers. A winged cherub head is below the inscription, and there is a base terminus carved with Acanthus leaves. Very competent carving thoughout by a sculptor who seems to have enjoyed what he was doing.
Richard Perry, d.1720, and seven unnamed children, erected by his wife, Sarah Perry. A cartouche monument, with the broad outer frame carved with scrolling and drapery, a nd bits of acanthus leaves. The drapery depends from a small cartouche of arms, painted, at the top, is knotted at the sides, and then hangs down, interrupted by scrolling and winged cherub heads, two to the lower sides, one at the bottom. At the very base is a block support of a different stone and likely much later date.
... and Marla, his wife, d.1739(?), a faded cartouche, of a nice violin shape, with thin outer border carved as scrolling and simple leaf shapes, a painted cartouche of arms at the top, a moulded bracket and little shelf at the base. Minimalist, for a cartouche, but still elegant.
Barbara Shepherd, d.1768, wife of James Shepherd of the Island of Barbadoes. The inscription is in an oval, surrounded by a broad boarder with inlay and staining, a border above, two crossed branches held by a ribbon below. There are odd bits of carving: a terminal winged cherub head at the base, a scrolly thing in the keystone position, and a short upper shelf containing nothing: there would seem to be something lost from this monument. Unconventional.
Samuel Thorp, d.1791, with a eulogy by his parents, who erected the monument. An obelisk monument with figure sculpture. This consists of a mourning girl holding a wreath across a funereal urn. She wears light drapery on top, outlining her substantial figure, with a thicker wrap and long skirts down to her bare feet, skilful work. The pot is carved too, including a crouching female figure in a roundel, and a medieval-style prowling lion, in low relief. Behind this grouping rises the broad obelisk, in brecciated marble, topped by a small flaming Aladdin-style lamp. Beneath is a broad shelf, supported on two brackets with floral carving in low relief, between which is the inscription on a pendant apron. Signed by the eminent John Bacon RA, Sculptor.

John Bacon RA's figure sculpture to Samuel Thorpe, d.1791.

Monuments after 1791

There is a panel noting that the Hanman tablet, and those to Lake, Clay, Sparks and Eddrup, were removed from the Church of St James’s Dukes Place, Aldgate, when that church was demolished in 1874 (see picture of panel and the church itself below). The panel is itself carved with slightly domed top, bevelled centres to each edge, and is on a backing panel, a little monument in itself, signed by Druitt of Mile End Road. It is surrounded with painted insignia on small panels, including London Underground.

John Godfrey Hanman, d.1792, pale panel with a narrow border and an upper shelf on which rests a curvey black panel; the bottom of the piece was obscured.

St James Duke's Place monuments, and the church itself.
William Sparks, his wife Sarah Sparks, a nd relatives through to daughters Rebecca Peck of Walthamstow, d.1799, and Margaret Dueffell of Bishopsgate Street, d.1802. Erected by the latter’s son John Dueffell. Pale panel with surrounding fluted frame, quatrefoils at the corners, and with a shelf above.
Mrs Sarah James, d.1810, erected by her husband Robert Grey James. As a tomb chest end, with low feet below, upper shelf, and a somewhat oriental put or urn on top, most elegant, on a shaped black backing, broken on one side - see picture below left.

White-on-black panels, early 19th Century.
Richard Prestwood, d.1811, ‘formerly of the Navy Office’. A nicely cut monument, the greyish backing arched to a point above and cut to a smooth curve below; upon it is the inscription on a tomb-chest end style panel, with little feet, fluted sides and a shelf above, on which rests a small funerial urn upon an ornate base with low relief carving - picture above, centre. Unusual for the period.
Robert Rayner, d.1814, a solid panel with fluted side pieces, pediment on top without entablature in between, within which is a fine spreading anthemion design. At the base, carved, but ruined supports. On a black backing.
Ralph Clay, d.1815, with a short eulogy by his wife who erected the monument, saying that he ‘discharged with Fidelity and zeal, the duties of an arduous and active situation’ without indicating his specific contribution. The monument is a 19th Century revival of an 18th Century form, the obelisk monument (see picture above). By convention, such things are split into two, with the inscribed panel below, and the dark obelisk above, typically forming the backing for some carved design. The revival obelisks tended to vary the basic model, and this example takes it rather far: the lower panel has flanking fluted pilasters with pots on top, broadening out the lower part uneasily, and the obelisk itself is truncated at the top with a pot carved on pale marble plonked on top; a disparate and unfortunate composition. But the parts of themselves show good carving, centred on the design in front of the obelisk itself: a carved pot with drapery upon it under a drooping palm tree, itself under a broader drape hanging from under two leafy shapes tied with a knot. The lines of the drapes are most harmonious, with nice touches such as a group of sprouting seedlings to one side. At the base are crossed broanches and a central hanging flower, flanked by the signature of the obscure sculptor, Sherwood of Derby.
Charles Jacob Eddrup, d.1815, and his sister Miss Ann Eddrup, d.1833, and wife Mrs Sarah Eddrup, d.1836. Panel with nipped corners, framed in a grey and pale marble with carved flowers at the corners, and an outer frame with fluted side pieces and upper and lower shelf (picture above). Above the shelf is more of the grey an pale marble, cut to pediment shape with a bell shape on top, enclosing a shield of arms – the motto is the well known ‘Dum spiro spero’ (whilst I live, I hope), and with acroteria to the sides. At the base, brackets carved with leaves and a central apron inscribed with a later Eddrup.
Thomas Merle, d.1819, and his granddaughter Frances Jane Fitzgerald, d.1825, and his great grandson William Fitzgerald Scott, d.1896. White on black tomb chest end, cut with feet below, an upper shelf, and upon it a pediment-like lid carved with scrolling and stylised flowers. On a shaped black backing, and with a painted shield of arms, partly whitewashed over, below. A little damaged and carelessly whitewashed at the base.
John Lowden, d.1831, and his mother in law, Mrs Sarah Muddell, d.1832. Casket end design, thus with feet, here carved with leafy designs, outward slanting sides, as strange pillar like constructions with striated surface, upper shelf or lip, and a pediment style lid with sunburst, Biblical quote and acroteria (‘ears’) in anthemion pattern. On a black backing.
James Bridger, d.1836, with added names to later members of his family, including Bridgers and Horners through to 1931, including extending the monument downwards. A fairly long panel results, with upper shelf with moulding and repeating patterns, and smaller pattern at the base. On top is a single central acroterion, with anthemion pattern and stylised leaves. On a shaped black backing. A picture is further up the page.

Hinchliffe of Hamptstead carved panels: Godfrey and Mulliens.
William Mulliens family: William Mulliens, d.1850, wife Margaret, d.1830, offspring from 1829-1835, and John Norbury Mulliens, d.1866, the last surviving son. Tomb chest end, with nice sculptural detail including a lid carved with a pot behind crossed leafy branches; crossed olive branches below, and acanthus leaves on the blocky feet - picture above right. Signed on the black backing by Hinchliffe of Hampstead, a notable monumental mason and sculptor.
Charlotte Lake, d.1854, and her husband James Lake, d.1855, plain white panel with small feet, and cut to pediment shape above a small shelf (picture above). On a black backing.
William Elliott, d.1858, and family. A rather beaten-up panel, bearing a pediment above a shelf, carved in relief with scrolling and central stylised flowers, with the backing panel cut with ‘ears’ or acroteria. Supported on two small brackets.
Henry Pound, a panel noting the stained glass to him, 1866, with a surround of inscribed plants, within a dark frame.
Sarah Haigh Godfrey, d.1868, and her husband John Godfrey, d.1840. A damaged panel of conventional type, cut as a tomb chest end, with feet below carved with stylised leaf designs, a thick upper lid, and on top, a draped pot. On a damaged black backing, signed by the sculptor Hinchliffe of Hampstead whom we met as the carver of the Mulliens monument noted above. A picture is above left.
Revd. William Meynell Whittemore, d.1894, and wife Kate Whittemore, d.1892, with history and eulogy. A revival brass, one of the more ornate of the type which flourished in the late 19th and early 20th Centuries. Thus the inscription is within a shield, with outer border including tri-cusped Gothic window tops, inscribed leaves and cherub faces, the whole within a wooden outer frame.
Alfred Pickering, d.1897, who was Common Councilman, Churchwarden, Overseer and Hon. Sec. of Aldgate Ward Schools. A somewhat speckled white panel carved with shelf, lid, and little feet, on a white-speckled black backing, this variegation giving away the late date of this piece. By the stonemason Britten of Leadenhall Street.
Mina Constance Mildred (Burder) Miles, d.1908, wife of the Rector of the Church, with a thin line of gold mosaic around the inscription within an alabaster frame, typical of the Arts and Crafts style.

And thus the monuments in St Katharine Cree Church. John Strype, who in 1720 greatly enlarged on John Stow’s 1598/1603 survey of London, saw other monuments there, including some 15th Century ones, also Frances Croke, d.1605, John Smith, d.1598, and others, alongside others of the 17th Century which are still to be seen today. Although he saw no tomb, Strype writes that he was told that had been buried in St Katherine Cree, and that ‘the Earl of Arundel, the great Patron of Learning and Arts, would have set up a Monument to his Memory here, had be but known whereabouts the Corps lay.’ An opportunity missed.

Also in the Church:

A blackened cartouche of arms, with a running greyhound carved in low relief upon it, presumably the rest being painted, scrolls at the side and top, and a winged cherub head at the base. Presumably early 18th Century.
Royal Coat of arms, as used to be in all churches, quite a heavy one, with a scrolly backing behind and above the lion and unicorn – from the early 18th Century.

St Katherine Cree woodwork: lectern and detail, organ carving, modern Charles I, and Royal Arms.
The organ with carved wooden case, incorporating two pairs of cherubs near the top, holding crossed trumpets. Of late 17th Century date.
The Font, in pale stone, with eight-sided bowl bearing painted heraldic cartouches (the arms are apparently those of Sir John Gayer, Lord Mayor of London, 1646), resting on a four-sided base with Ionic capitals and scrolls at the base - picture below. The cover is original.
The Lectern, late 17th Century apparently, with fine woodwork.
The rose window noted at the beginning of the page is of 1630, with repairs in the 1770s by Pearson; other glas is late 19th Century.
Wooden pulpit of 1732, given by John Dyke, with band of decorative carving, and a sounding board above.
Painting of a man, above the Throkmorton monument. Perhaps it is of him?
The gears from some clock or chime.
Modern wooden statue of King Charles, dedicated 1964, put up in memory of Cecil Margaret Romaine Callender, d.1962, who was Secretary of the Society of King Charles the Martyr.

Outside the Church:

A bit of the churchyard survives, now made into a garden, and entered from Mitre Street. A couple of raised ledgers, tombstones, and a tomb chest remain, and a few broken remnants round the side, but the main feature is the stone gate, once just East of the Church on Leadenhall Street, with an inscription that it was built ‘at the cost and sole charges of William Avenon, Citezen and Gouldsmith of London, who died in December Anno D[omi]ni 1631’. Above the inscription in the deep pediment is a recumbent skeleton, his lower body wrapped in a shroud, his head raised on a rolled up mat. A macabre thing, now made into the back of a fountain, it is comparable with the surviving gates to St Olave Hart Street (skulls), and to St Giles in the Fields (Doom). Another comparison may be made with the effigy in a winding sheet on the monument to Thomas, Lord Darcy and Sir Nicholas Carew in East to St Botolph Aldgate, who were both executed as parties to some Catholic plot – a fate narrowly avoided by our Sir Nicholas Throkmorton, Carew’s son in law.

The 1631 gate,and skeleton.

With many thanks to the Church authorities for kind permission to show pictures of the monuments inside; their website is http://www.sanctuaryinthecity.net/st-katharine/4586821914.

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West to St Andrew Undershaft // and then North to St Helen Bishopsgate // East to St Botolph Aldgate // South to All Hallows Staining // or to St Olave Hart Street

Monuments in churches in the City of London // Introduction to church monuments

Angel statues // Cherub sculpture

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