29 September 2024

Two Saint Johns in Hampstead:
Who was the patron saint?
Which is church or chapel?

Saint John-at-Hampstead claims to stand on a site used for worship since the year 986 (Photograph: Patrick Comerford, 2024)

Patrick Comerford

There are two Church of England churches in Hampstead that are named Saint John: Saint John-at-Hampstead which is dedicated to Saint John the Evangelist, and Saint John’s Downshire Hill.

Saint John-at-Hampstead, the ancient parish church on Church Row, is said to be dedicated to Saint John the Evangelist, although this was only clarified by the Bishop of London in 1917.

Saint John’s Downshire Hill is not actually a parish church but a proprietary chapel. It is the only proprietary chapel remaining in the Diocese of London, and one of only a handful of proprietary chapels in the Church of England.

The two Saint John’s in Hampstead have very different histories, styles of worship and values. To add to the confusion, but there is also a debate about the patronage of Saint John-at-Hampstead: was the saint in question Saint John the Baptist or Saint John the Evangelist?

I decided to visit both churches – or the church and the chapel – when I was in Hampstead last week.

Saint John-at-Hampstead celebrated 1,000 years of its history in 1986 (Photograph: Patrick Comerford, 2024)

Saint John-at-Hampstead traces its history back to the year 986, when Hampstead was granted by charter to the Benedictine monks of Westminster Abbey. The charter is of uncertain authenticity; nevertheless, Saint John-at-Hampstead celebrated 1,000 years of its history in 1986.

The Domesday Book makes no reference to monks, chapels or churches in Hampstead, although it acknowledges the link with Westminster Abbey.

Christopher Wade, in Hampstead Past suggests the old church in Hampstead illustrated in an engraving by John Goldar may have been built ca 1220-1240, with a surviving Romanesque two-light East Window.

The Benedictine monks may have built a church or chapel in Hampstead, but there is no record of one until 1312, when John de Neuport was the priest in Hampstead, and 1333, when there is a reference to a chapel dedicated to the Blessed Virgin Mary. Hampstead and the parish of Hendon were linked and sometimes only one priest served both.

Hampstead was on the pilgrim route to St Albans and the Knights Templar held land in Hampstead in the mid-13th century, while the Knights Hospitallers leased the manor for 100 years until 1535.

Inside Saint John-at-Hampstead facing west, the liturgical east (Photograph: Patrick Comerford, 2024)

At the dissolution of the monastic houses during the Tudor reformation, the Benedictine foundation of Westminster Abbey was replaced by the short-lived Diocese of Westminster, with Thomas Thirlby as the first and only Bishop of Westminster (1540-1550).

Thirlby was also the rector of Hampstead, and appointed Thomas Chapelyne as vicar in 1545. But Chapelyne only stayed a year; he was replaced in 1546 by Richard Gardener, who may have stayed in Hampstead until 1558.

Edward VI suppressed the Diocese of Westminster in 1551 and granted the manor and benefice of Hampstead to Sir Thomas Wrothe. The church at that time was partly stone and partly timber, with a wooden tower. Wrothe lived in exile during Queen Mary’s reign. The manor passed to his son in 1606.

Baptist Hickes, later Lord Campden, on his death in 1629, re-endowed the church ‘for a preacher not for a priest.’ During the late 17th century the manor changed hands several times. It was held by the Hickes family, who had the titles of Lord Campden and Earl of Gainsborough until it was sold in 1707 to Sir William Langhorne, a former Governor of Madras. His father-in-law, the Revd Robert Warren, later became the Vicar of Hampstead in 1735.

Saint John-at-Hampstead facing east … the church has been realigned on a west/east axis (Photograph: Patrick Comerford, 2024)

Hampstead expanded and grew in popularity in the 18th century, with people visiting for its clean air and fresh waters. The church became inadequate for the needs of the growing population. It was in such a dangerous condition that it was declared unusable by 1744.

A new church was designed by John Sanderson, with a steeple at the east end as part of a cheaper plan as the land fell away sharply to the west. The central door did not exist then, and the congregation used two doors on either side of the main altar, while the area under the tower served as the vestry. The west door was intended as the main entrance but was largely unused except by the Lords of the Manor.

The church was consecrated on 8 October 1747 by the Bishop of Llandaff, John Gilbert, as commissary of the Bishop of London, Edmund Gibson, with a dedication to Saint John. It seems no one at the time specified which Saint John, and the parish continues to celebrate its Dedication Festival on 8 October rather than celebrating a patronal festival.

The copper spire was added ca 1783. An additional burial ground was bought across the street on Church Row in 1811 and consecrated on 26 June 1812.

Saint John-at-Hampstead was consecrated in 1747 by Bishop John Gilbert of Llandaff (Photograph: Patrick Comerford, 2024)

Saint John’s Downshire Hill opened on 26 October 1823. William Harness was the first minister there, but he left in 1825 and was followed by four ministers in succession, each staying only a short time.

John Wilcox arrived in 1832 and established the evangelical traditions of the church. But he faced stern opposition from Samuel White, the Vicar of Saint John-at-Hampstead. The new chapel was in White’s parish and his permission was needed for services and sermons in the parish.

White strongly opposed Wilcox’s Calvinist positions and took legal action to stop Wilcox officiating without his permission. But local feeling was on the side of Wilcox and the poet John Keats, who was living in Hampstead, described White as ‘the Person of Hampstead quarrelling with all the world.’

The decision of the court prevailed, and the new chapel closed until 1835, when Wilcox died and an alternative minister was found who had White’s approval: John Ayre remained there for 20 years until 1855.

The choir and high altar in Saint John-at-Hampstead … the interior was realigned and the altar was moved to the geographical west end in 1877-1878 (Photograph: Patrick Comerford, 2024)

Meanwhile, Saint John-at-Hampstead had become too small for the growing population of a burgeoning suburb and the building also needed extensive repairs. A plan was drawn up by Robert Hesketh in 1843 to extend the church 30 ft westwards, adding transepts and providing 524 extra seats.

The first Willis organ was built in the church in 1853, with Henry Willis himself as the organist.

Plans in 1871 proposed ‘beautifying and improving’ the church and demolishing the tower. But the plans were shelved following protests from leading artistic and literary figures of the day, including William Morris, Edward Burne-Jones, Holman Hunt, Ford Madox Brown, Anthony Trollope, George du Maurier, Coventry Patmore, FT Palgrave, George Gilbert Scott jr and others.

The trustees conceded, and instead the church was extended westwards in 1877-1878 under plans drawn by FP Cockerell. The inside was realigned and the altar was moved to the geographical west end. It could be said the church had been saved by the Pre-Raphaelites and the leading writers and architects of the day. The rebuilt church was consecrated by the Bishop of London on 1 June 1878.

The morning chapel or the Sacrament Chapel, dedicated to Saint Mary and Saint John, was designed by Temple Moore (Photograph: Patrick Comerford, 2024)

The Irish-born architect Temple Lushington Moore, who was born in Tullamore, Co Offaly, and who also the architect of Pusey House, Oxford.

Temple Moore redesigned the vestries in 1911-1912 and added a morning chapel, now the Sacrament Chapel, dedicated to Saint Mary and Saint John.

Saint John-at-Hampstead is said to be dedicated to Saint John the Evangelist, although this was only clarified in 1917 by the Bishop of London, Arthur Foley Winnington-Ingram.

Saint John the Baptist and Saint John the Evangelist on either side of ‘Christ in Glory’ above the high altar (Photograph: Patrick Comerford, 2024)

The cast iron gates and railings around the church came from Canons Park, Edgware, the home of the Duke of Chandos home and where Handel was the organist.

Inside, the church is oriented west/east rather than the traditional east/west alignment. The dark Victorian interior scheme was removed in 1958 and the original lighter scheme was reinstated.

The stained-glass windows over the altar at the west end (liturgical east) indicate the church’s ambivalence about which Saint John is named in the dedication: the windows show ‘Christ in Glory’ flanked by Saint John the Baptist and Saint John the Evangelist. They were designed by Ellis Wooldridge in 1884 and executed by Powells at a time when Powells were associated with the architect TG Jackson, who designed the choir stalls and the organ case. Many of the altar frontals in use today are the work of Barbara Thomson.

The pulpit in Saint John-at-Hampstead is from the 1745 church and was relocated in 1878 (Photograph: Patrick Comerford, 2024)

The pulpit is from the 1745 church. It was relocated in 1878, when it was lowered and the sounding board removed, with its pillars used to form part of the reredos behind the high altar.

The font incorporates the bowl of the 1745 font. Part of it was being removed to form the piscina in the Sacrament Chapel as a dedication to George Augustus Selwyn, first Bishop of New Zealand and later Bishop of Lichfield.

The altar piece in the Sacrament Chapel was painted by Donald Towner of Church Row, in memory of his mother. Towner used a local resident as the model for Mary, his nephew for John and his own mirror image for Christ.

The piscina in the Sacrament Chapel is a memorial to George Augustus Selwyn, first Bishop of New Zealand and later Bishop of Lichfield (Photograph: Patrick Comerford, 2024)

Alfred Bell of Clayton and Bell was a parishioner and was a churchwarden for 16 years. He designed the windows in the north and south aisles, most of them in memory of his children, in the 1870s and 1880s. The Virgin and Child in the north transept was used by Clayton and Bell to illustrate their trade brochure.

The window over the entrance doors depicting the Road to Emmaus was designed by Mary Temple Moore and was installed by Reginald Bell in 1929.

The memorials in the church include a bust of the poet John Keats, who lived in Hampstead before going to Rome where he died. The painter John Constable and John Harrison, inventor of the marine chronometer, are buried in the old churchyard.

John Harrison, inventor of the marine chronometer, is buried in the old churchyard at Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)

The writers and literary figures buried in Hampstead include: Eliza Acton, George Atherton Aitken, Walter Besant, Elizabeth Rundle Charles, Eleanor Farjeon and Evelyn Underhill; Penelope Fitzgerald, her father EV Knox, editor of Punch, and her mother Mary Knox, illustrator of the Mary Poppins stories by PL Travers; the Llewelyn Davies family whose children Jack and Peter inspired JM Barrie’s Peter Pan stories; and members of the du Maurier family.

Architects buried there include Temple Moore, George Gilbert Scott jr and Richard Norman Shaw. From the world of theatre, television and film are Peter Cook, Kay Kendall and Herbert Beerbohm Tree.

Among the political figures buried there are Hugh Gaitskell, Labour Party leader from 1955 until 1963, and his wife Dora, and the Irish-born suffragist and pacifist Eva Gore-Booth, who was born at Lissadell House, Co Sligo, and a sister of Constance Gore-Booth, Countess Markievicz.

Many writers, literary figures, political activists and architects are buried in Hampstead (Photograph: Patrick Comerford, 2024)

The Revd Carol Barrett Ford is the Vicar of Hampstead and the Area Dean of Camden. She is a former chaplain and acting dean of Saint John’s College, Cambridge.

The Revd Graham Dunn, the assistant curate in Hampstead since 2021, has been appointed the chaplain of Saint John’s College, Cambridge, from next month (October 2024).

Saint John-in-Hampstead aims to be an active, inclusive and growing community which worships, welcomes, learns and serves. Its vision statement is ‘Building an inclusive community of Christian love, faith, witness and action.’ The church is open daily from 9 am to 5 pm.

• The Sunday services are: Holy Communion (BCP), 8 am; Choral Holy Communion, 10:30 am; Choral Evensong, 5 pm. There is a mid-week Holy Communion on Wednesdays at 10:15.

Saint John the Baptist baptises Christ … one of the windows by Alfred Bell of Clayton and Bell in Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)

Tomorrow: Saint John’s Downshire Hill

Daily prayer in Ordinary Time 2024:
141, Sunday 29 September 2024

‘Archangel Michael The Protector’ by Emily Young at Saint Pancras Church, London … today is the Feast of Saint Michael and All Angels (Photograph: Patrick Comerford)

Patrick Comerford

We are continuing in Ordinary Time in the Church Calendar and today is the Eighteenth Sunday after Trinity (Trinity XVIII) and the Feast of Saint Michael and All Angels (29 September).

Later this morning, I hope to be present at the Parish Eucharist in the Church of Saint Mary and Saint Giles in Stony Stratford, which is also the Harvest Eucharist. But this morning, before today begins, I am taking some quiet time to give thanks, and for reflection, prayer and reading in these ways:

1, today’s Gospel reading;

2, a reflection on the Gospel reading;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

Sir Jacob Epstein’s Saint Michael and the Devil on the façade of Coventry Cathedral (Photograph: Patrick Comerford)

John 4: 47-51 (NRSVA):

47 When Jesus saw Nathanael coming towards him, he said of him, ‘Here is truly an Israelite in whom there is no deceit!’ 48 Nathanael asked him, ‘Where did you come to know me?’ Jesus answered, ‘I saw you under the fig tree before Philip called you.’ 49 Nathanael replied, ‘Rabbi, you are the Son of God! You are the King of Israel!’ 50 Jesus answered, ‘Do you believe because I told you that I saw you under the fig tree? You will see greater things than these.’ 51 And he said to him, ‘Very truly, I tell you, you will see heaven opened and the angels of God ascending and descending upon the Son of Man.’

A statue of Saint Michael on the wall of Saint Michael’s Church, Lichfield (Photograph: Patrick Comerford)

Today’s Reflection:

There are few references to Saint Michael in the Bible (Daniel 10: 13, 21, 12: 1; Jude 9; Revelation 12: 7-9; see also Revelation 20: 1-3). Yet he has inspired great works in our culture, from Milton’s Paradise Lost to Jacob Epstein’s powerful sculpture at Coventry Cathedral.

But culturally, this has been an important day for the Church: the beginning of terms, the end of the harvest season, the settling of accounts. It is the beginning of autumn, and we were told as children not to pick blackberries after this day.

In all our imagery, in all our poetry, Saint Michael is depicted and seen as crushing or slaying Satan, often Satan as a dragon.

Our ideas of dragons are also culturally conditioned. For the Chinese, dragons symbolise gift and blessing, and represent the majesty of the imperial household.

In most European languages, the word for a dragon is derived from the same Greek word used for a serpent. In European folklore and mythology, legendary dragons have symbolised danger and evil. We are warned in the Greek classics against sowing dragon’s teeth.

Most of us in life meet our own dragons and know how they are going to ensnare us if we do not face them and slay them.

Because of the Blitz during World War II, the poet Philip Larkin (1922-1985) spent some of his late teen and early adult years living with his father’s family, close to Saint Michael’s Church on Greenhill in Lichfield, where generations of the Larkin family are buried. On the north wall of the church, in a large, looming sculpted image, Saint Michael is crushing the dragon under his feet.

Memories of this image and this churchyard may have inspired the imagery in at least two poems written by Larkin some years later. In his poem ‘At the chiming of light upon sleep’, first drafted on this day 78 years ago [29 September 1946], Larkin links Michaelmas and a lost paradise with chances and opportunities he failed to take in his youth.

In his poem ‘To Failure,’ written a year before he moved to Belfast, Larkin realises that failure does not come ‘dramatically, with dragons / that rear up with my life between their paws.’ Failure comes with more subtlety in those wasted opportunities and lost chances.

Throughout life, we have your own dragons to slay. We must not mistake them for old friends. We have opportunities and chances to do that, and as the days pass quicker than we can count, we can find you have wasted those opportunities and lost those chances.

We must get to know our dragons. But we must also pay heed to the opportunities that pass far too quickly. And take the opportunities we are presented with, like Nathanael waiting beneath the fig tree, to prepare for the next stage in life and ministry.

Even when there appear to be few dramatic conflicts with our inner dragons, in the years to come we may regret not paying attention to the little opportunities, the minor details of life. We may not notice the changes, the days passing more quickly, and the years pass by.

Philip Larkin writes:

It is these sunless afternoons, I find,
Install you at my elbow like a bore.
The chestnut trees are caked with silence. I’m
Aware the days pass quicker than before,
Smell staler too. And once they fall behind
They look like ruin. (You have been here some time.)


Sitting under his tree, Nathanael was aware of the opportunities and did not allow them to pass him by. And when we seize these opportunities we may find ourselves ready to ‘see heaven opened and the angels of God ascending and descending upon the Son of Man’ (John 1: 51).

Dragons on Chinese silk ties … our ideas of dragons are also culturally conditioned (Photograph: Patrick Comerford)

Today’s Prayers (Sunday 29 September 2024):

The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One God: many languages.’ This theme is introduced today in reflections by Rachel Weller, Communications Officer, USPG:

Whenever we share the Eucharist together in the USPG office, staff are invited to say the Lord’s Prayer in a language of their choice. Together we pray to the God of all nations unlimited by language: ‘Our Father in heaven … laat u Naam geheilig word … venha o teu reino …’ I’m reminded at such times of God’s power to unite believers across the world, something USPG mirrors in its aim to make connections between the churches of the Anglican Communion.

Although the origins of Anglicanism are resoundingly British, being Anglican does not equate to being English. The Bible is God’s Word to us and is something that everyone should be able to understand for themselves. There is power in encountering Jesus through scripture in your own language. After all, how do the crowd react to the fluency of the apostles at Pentecost? In amazement and astonishment.

This prayer diary is now available in two languages, and we hope to continue to grow this portfolio. Find out more: uspg.org.uk/pray

The USPG Prayer Diary today (Sunday 29 September 2024) invites us to pray in these words:

Everlasting God, you have ordained and constituted the ministries of angels and mortals in a wonderful order. Grant that as your holy angels always serve you in heaven, so, at your command, they may help and defend us on earth. Through Jesus Christ your Son our Lord, Amen.

The Collect:

Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post Communion Prayer:

Lord of heaven,
in this eucharist you have brought us near
to an innumerable company of angels
and to the spirits of the saints made perfect:
as in this food of our earthly pilgrimage
we have shared their fellowship,
so may we come to share their joy in heaven;
through Jesus Christ our Lord.

Yesterday’s reflection

Continued tomorrow

Saint Michael depicted in the mosaic floor of Minton’s tesserae and tiles in the chancel of Saint Michael’s Church, Cornhill, London (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

Saint Michael (centre) with Saint Gabriel and Saint Raphael, in the west window in Saint Michael’s Church, St Albans (Photograph: Patrick Comerford, 2024)