St Martin-in-the-Fields Church

Eight Centuries of Sacred Ground

The story of St Martin-in-the-Fields begins in 1222, when the first documented reference to a church on this site emerged from a dispute between the Bishop of London and the Abbot of Westminster. At that time, the location was truly in the fields—farmland lying between the medieval cities of Westminster and London. The Archbishop of Canterbury ruled in Westminster's favour, and the monks of Westminster Abbey began to use the church as their own. This early medieval structure would serve the community for centuries, though its name would remain a testament to its original rural setting long after London's expansion transformed the landscape around it. The church's significance grew during the Tudor period when King Henry VIII, motivated by pragmatic rather than pious concerns, rebuilt the structure in 1542. His primary objective was to prevent plague victims from being carried through his Palace of Whitehall during funeral processions to Westminster's burial grounds. By extending the parish boundaries, Henry VIII effectively created a buffer zone around his royal residence. This rebuilding marked a turning point in the church's history, establishing it as a proper parish church with its own defined territory.

Growth and Decay in the Early Modern Era

As Westminster's population expanded during the 17th century, St Martin-in-the-Fields grew with it. By the reign of James I, the congregation had outgrown the Tudor structure. In 1606, the king granted an acre of land to the west of St Martin's Lane for a new churchyard, and the building was enlarged eastwards over the old burial ground, increasing its length by approximately half. The interior was refined with oak wainscoting rising six feet high, while galleries on the north, south, and west sides provided additional seating. The church became a burial place for notable figures including Robert Boyle, the natural philosopher, and Nell Gwyn, the actress and mistress of Charles II. Yet by the early 18th century, this expanded structure had fallen into serious disrepair. A 1710 survey revealed that the walls and roof were in a state of decay, with the rubble-built walls having spread under the weight of the roof. Parliament intervened in 1720, passing an act that allocated up to £22,000 for the church's complete rebuilding, with costs to be raised through parish rates.

James Gibbs and the Birth of an Architectural Icon

The rebuilding commissioners selected James Gibbs, a talented Scottish architect renowned for the Radcliffe Library in Oxford, to design the new church. Gibbs initially proposed an ambitious circular nave with a domed ceiling, inspired by St Paul's Cathedral, but the commissioners deemed this scheme too expensive. He then produced a simpler, rectilinear design that addressed practical constraints while maintaining architectural distinction. The foundation stone was laid on 19 March 1722, and construction proceeded swiftly. By spring 1724, the core structure of brick and Portland stone was complete, and the interior fitting-out commenced. The last stone of the spire was placed in December 1724, and the church was consecrated in 1726. The total cost reached £33,661, including the architect's fees. Gibbs's final design proved revolutionary. The church features a rectangular plan with Corinthian pillars, a grand portico on the west front, and most strikingly, a central steeple positioned behind the pediment—an unconventional arrangement that drew criticism at the time but ultimately proved hugely influential. This innovative positioning, combined with the impressive entrance portico and the 59-metre-high spire, set a new template for ecclesiastical architecture that would be adopted across Britain, America, and the Commonwealth for the next two centuries. Gibbs himself published a book illustrating the church's design, which became a crucial reference for architects worldwide, particularly in regions where trained architectural talent was scarce.

From Obscurity to Landmark Status

For its first century, St Martin-in-the-Fields remained somewhat hidden, surrounded by surrounding buildings that obscured its elegant form from distant views. The transformation came in the 1820s when the clearance of land to create Trafalgar Square finally opened up the church to public view. The architect John Nash, while planning the square, deliberately positioned Church Path and the range of buildings to the north to frame and enhance the church's prominence. The church's visual importance was further secured when plans for a grand staircase in front of the National Gallery were abandoned to preserve the view from Pall Mall, and Nelson's Column was reduced in height to avoid towering over the church's spire. Though technically the column exceeds the spire's height, the church's position on slightly elevated ground means the spire's top reaches higher above sea level.

A Living Church and Cultural Institution

Today, St Martin-in-the-Fields stands as one of Britain's most significant ecclesiastical buildings and a visual anchor for the open urban space of Trafalgar Square. The church remains an active Anglican parish church and the Royal parish church of England, welcoming visitors from around the world. Its interior showcases beautiful plasterwork and soaring, understated elegance that rewards close inspection. The church hosts an impressive program of classical music performances, including free lunchtime concerts that allow visitors to experience the space's acoustic qualities while appreciating its architectural refinement. Beyond its spiritual and musical roles, St Martin-in-the-Fields has established itself as a pioneer of social innovation. It founded London's first free lending library and played a founding role in The Big Issue and Amnesty International. The crypt, expanded and modernised in 2006, now houses a café and serves as a venue for diverse community activities and events. The church welcomes all faiths and has been particularly active in supporting London's Chinese community through the Ho Ming Wah Chinese People's Day Centre. Its commitment to inclusivity is exemplified by the annual Pride celebrations when the Friends of Dorothy take over the bell ringing, demonstrating the church's embrace of contemporary social movements while honouring centuries of tradition.