St Saviours, Southwark - Southwark Cathedral

Southwark began as a Roman settlement, situated at a junction of roads leading to the south bank of the Thames and the bridge into Londinium. Several London Bridges have now occupied this site, and plans are afoot to open a museum celebrating the earliest principal route into the City. The museum will be the latest among many developments over the past two decades, that have seen the South Bank from Southwark to Westminster become, after centuries in the shadow of the great City, a vivid and colourful part of the metropolis.

Perhaps because of Southwark’s lack of status in former times, its most important church has been overlooked and overshadowed by local development - it is hemmed in by roads, railways and huddled wharfside buildings. The best view is actually from the Thames’ northern bank, although its most famous historic representation sees it dominating the foreground of the famous 1614 engraving by Visscher. The earliest mention of religious activity on the site comes from the Domesday Book which mentions a ’monasterium’ of which little is known, although Saxon foundations have been recovered during archaeological exploration.

The site’s proper recorded history begins in 1106. Falling under the diocese of Winchester (which covered a huge swathe of Southern England at the time), it was refounded by the then Bishop of Winchester, William Giffard, as the Priory Church of St Marie. It became more informally known as St Marie Over-The-River (meaning over the river from the City), and later during the medieval period the name gradually truncated to St Marie Overie. It was an Augustinian foundation, but perhaps fate would have been kinder if it had been Benedictine for, on St Benedict’s Day 1212, much of it burned down - the first of several fires that were to afflict it over the centuries. Repairs in the Early English style were carried out under Winchester’s Bishop Peter Des Roches. Winchester Palace, the London residence of the Bishop, stood close by and the Bishops were to remain responsible for repairs. This Gothic Priory entertained poets such as Geoffrey Chaucer and John Gower, the first associations with poets that would extend and grow stronger in the later Elizabethan and Jacobean periods. More important structural changes occurred in 1420 when the powerful Cardinal Beaufort, a relative of royalty, heightened the tower and restored transepts and chapels.

At the Dissolution in 1539, the Priory was surrendered with little fuss. The hospital buildings to the north were refounded as St Thomas Hospital and the remainder passed to Sir Anthony Browne, Master of the King’s Horse. He appeared to have little interest in the defunct Priory other than a convenient base near London - after all, he had also inherited the more distinguished Battle Abbey - and he sublet the Priory Church to local tradesmen. Thus the former Priory of St Marie Overie became the Parish Church of St Saviour’s.

The area was seeing other changes. Winchester Diocese was doing very nicely out of leasing its riverside land in Southwark, but this land was being used for the sort of insalubrious activities associated with most of the Liberties surrounding the City. Brothels, known as ’stews’, were proliferating, prisons such as the Marshalsea were lurking nearby, and areas of public entertainment such as the Bear Garden were drawing rowdy audiences. An enterprising businessman named Philip Henslowe opened a theatre which he called The Rose. The church authorities condemned the playhouses, but were won over by charitable donations from the theatre box office. The association of St Saviours with Elizabethan and Jacobean theatre had begun, taking its place as the Actors’ Church, the South Bank equivalent of St Leonard Shoreditch and preceding the later Jacobean St Paul Covent Garden. Henslowe and his son-in-law, the great actor Edward Alleyn, became churchwardens of St Saviours and the builder of the Rose is today buried in an unmarked spot somewhere in the church precints. Much of the church’s importance during Jacobean times can be seen from a perambulation of the site, of which more later.

By 1830, the playhouses long gone, the area had once more become neglected. St Saviours was once again in disrepair, and the construction of a new London Bridge threatened its existence. Its ratepayers voted for its demolition but it was saved by the energies of the architects George Gwilt and Henry Rose, who completed major repairs which, although slated by the neo-Gothic architect Pugin, restored the fabric of the building that now stands today.

Despite the saving of Saviours, Southwark remained an unhealthy area, described grimly by Dickens and Booth. Winchester was too remote to be able to cope adequately with the area’s social problems, and responsibility was briefly passed to the Diocese of Rochester before the proposal rose for a new Diocese of Southwark. The idea received eager support and the nave was spruced up in preparation for the building’s coming change in status. 1905 saw the passing of the Bill creating the new Diocese and this surely must have been the proudest and most triumphant year of the site’s history. After facing destruction by fire, Dissolution and Regency period lethargy, St Saviours now emerged as Southwark Cathedral. It now had collegiate status and its own Bishop, the first being Bishop Talbot of Rochester. New buildings have been constructed on the Cathedral’s north side, reflecting the regeneration of the Southwark waterfront that has also seen the rebuilding of The Globe theatre and the opening of the Tate Modern. It is the building most used by the Archbishop of Canterbury to enthrone new Bishops, and is the Anglican mother church as far south as Gatwick Airport.

A tour of Southwark Cathedral takes in virtually every aspect of the site’s history, and begins at the SW door. The late Victorian nave to the visitor’s right was constructed on the foundations of the original and has roughly the same proportions. However, the real Glory of the Cathedral lies not in its capaciousness but its wealth of smaller, more personal details. Directly to the right of the entrance is a stretch of arcading, the oldest part of the building, as this is Norman work dating back to the first priory of St Marie. On the other side of the nave can be seen an arch and a doorway from the same period, and the Victorian arcading faithfully follows the pattern of this early fabric. Other notable sculpture at this west end are medieval roof boses, displayed along the wall, and a lovely canopied font. A memorial tablet here, shaped like a ship’s wheel, recalls a local and recent tragedy. On an August evening in 1991, within sight of the Cathedral, the dredger Bow Belle collided with the pleasure craft Marchioness, causing the loss of 51 lives.

Ambling along the south aisle of the nave, one comes across the most impressive of all memorials to a certain Mr W Shakespeare, a wonderful sculpture showing the poet in repose, with images of St Saviours, Winchester Palace and the theatres Rose and Globe behing him. Above the memorial is a stained glass window depicting characters from his plays, and a visual representation of the famous Seven Ages Of Man speech from As You Like It. Right next to it, touchingly placed, is a memorial to the actor Sam Wanamaker who contributed a great deal to the area’s current popularity by campaigning for many years for The Globe to be rebuilt. It is fitting that his memorial should be next to Shakespeare, perhaps representing the new and the old, the historic and modern Globe theatres. A plaque opposite these memorials remembers Wenceslas Hollar, the 17th century engraver. Although he was buried at St Margarets Westminster and also has a small memorial there, Hollar is commemorated here because of his engravings of Bankside and the Thames, images which were sketched in 1638 from the top of the tower.

The south transept, like its equivalent in the north, is practically a small museum of memorialarchitecture, showing varied and colourful styles of remembrance. The most impressive is a painted bust of Thomas Jones, a chaplain of St Saviours and a founder of the Royal Academy. Also commemorated in this transept are John Bingham, saddler to Elizabeth I and James I, and Isabella Gilmore, who was Head Deaconess and sister of the artist William Morris. The organ case is here and so is a blocked entrance to a now demolished chapel, notable for the Plantagenet arms of Cardinal Beaufort who constructed the chapel in 1426.

Moving into the south choir aisle, one sees the first connection to an Shakespeare-era actor: Richard Benefield, a lawyer cousin of one Robert Ben(e)field, a player whose name appears on the First Folio of the Bard’s work and also in the cast list for John Webster’s most celebrated play The Duchess of Malfi. Set in the floor here are some Roman tesserae, a reminder that the antiquary of this site matches that of the City across the river. A cenotaph tomb to the first Bishop of Southwark, Bishop Talbot, is here, and so is the proper tomb of one of the most celebrated Bishops of Winchester: Lancelot Andrewes. He was an extremely learned man, holding no less than three important Bishoprics during his life and apparently mastering twenty-one languages! He was part of the team that translated the Bible for King James’ Authorised version and is personally credited with translating the five books of Moses. A further monument here, designed by John Soane whose greatest triumph was the Bank of England, is that of Abraham Newland, the Bank’s Chief Cashier who oversaw the first issue of the one pound note.

The retrochoir, at the end of the aisle and the east end of the building, contains a series of chapels and is the oldest intact part of the building, dating to te rebuild of 1215 that followed the fire which devastated the Norman Priory. Heresy trials, presided over by Bishop Gardiner, took place here during Mary Tudor’s reign and many prominent martyrs were condemned on this spot. Even today, the retrochoir has a dark and haunting quality.

In the north choir aisle are a series of monuments that differ in style from those on the south, due to their European quality - they were locally designed by immigrants from Germany and Flanders, and of are impeccable quality - the best being to Richard Humble and John Trehearne, two of the so-called ’Bargainers’ who purchased the church for the parish. Also here is the entrance to the Harvard Chapel, named after the founder of the famous US university, John Harvard who was baptised in St Saviours in 1607.

Move into the chancel, dominated by a Great Screen dating from 1520 and containing three bands of statuary.Here on the floor are tablets commemorating three notable figures of the Southwark Playhouse heyday, all of whom were buried here.The first - and least celebrated - is Edmond Shakespeare, younger brother of the playwright and a fellow actor, who died in 1607. Next is John Fletcher, a prolific dramatist who collaborated with Shakespeare on Henry VIII and succeeded him as chief playwright of The Globe. He died in 1625, and the third slab commemorates Philip Massinger, another collaborative Jacobean playwright who had a hand in 55 plays. He succeeded Fletcher and died in 1640. One of the famous comedians of the Elizabethan stage, Will Kempe (who once Morris-danced from London to Norwich then published a pamphlet about his exploit) may also have been buried here, as he disappears from the historical record around the same time in 1603 that a record in the Burial Register mentions ’Kempe, a man’.

The north transept is a century older than the south and is also full of monuments, the most interesting being the reclining figure of Lionel Lockyer, a local quack who was buried here in 1627. The amusing epitaph praises the pills he sold, which were reputed to have contained sunlight. Judging by the size of his monument, those pills must have sold extremely well.

The windows of the north aisle commemorate historic figures who have been connected with the parish at some time. One of them, Alexander Cruden, wrote a Concordance to accompany King James Bible, and his work is still used today. He is buried somewhere in the grounds. Another, John Gower, has a tomb in this aisle: he was the earliest court poet, serving Richard II before jumping on board with Henry IV when he sensed which way the wind was blowing. He wrote a collection of verse called Confessio Amantis, which influenced his contemporary Chaucer (who dedicated his Troylus and Criseyde) to Gower, and Shakespeare who had Gower appear in the prologue of Pericles.

The door in this aisle leads to a corridor separating the church from the new buildings of its annexe. Named Lancelot’s Link in honour of Bishop Andrewes, it is paved with the names of churches in the Southwark Diocese. At the east end of the Link, and very easy to miss, is an archaeological display, showing a trench dug by the side of the church’s north-eastern corner. This trench falls through the ages, showing road surfaces of the last few centuries, a 17th century kiln, the foundations of the Saxon minster and, right at the bottom, the surface of the Roman road that led to London Bridge. Two thousand years of history in a single pit.

The visitor to Southwark has a choice after leaving the church. Head east, across the road to visit the dark attractions of the London Dungeon. Or head west, through ancient Southwark, still atmospheric despite the tourist revival. The replica of Golden Hinde is here, the Clink Prison museum, the grey remains of Winchester Palace, the rebuilt glory of the Globe and the towering walls of Tate Modern - the area that saw the first performances of some of the greatest literature of the Renaissance. Even the old name, St Saviours Southwark, hisses with sibilants that an alliterative poet would appreciate. No more is it a decaying, half-forgotten edifice in an untidy and unhealthy area. A true example of resilience and antiquity, St Saviours has emerged from centuries of uncertainty to become the great survivor in one of the most vibrant areas of London.